Download PDF by Winfred P. Lehmann: A Gothic Etymological Dictionary

By Winfred P. Lehmann

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In a 1987 interview she said that she wrote Heroes and Villains [1969] as an exercise in Gothic because reviews of her previous fictions called them Gothic, and she didn't think they were (Stephens, Antithesis). ' Here she may be recognising what her work shares with the form so defined, but Gothic is just one of the anti-realistic resources she used in her parodic picaresques. They belong on both sides of the boundary between Enlightened reason and the imaginary, across which Gothic is supposed to work: they are rationally critical by fantastic means, but don't lose the magic of storytelling.

His last novel, The Garden of Survival (1918), is the story of a British civil servant who finds 'the Thrill' only when he goes to Africa as a colonial administrator; only then is he able to come into contact with the beauty and goodness of his dead wife. As in novels like The Wave: An Egyptian Aftermath (1916) and Julius Le Vallon: An Episode (1916), the lovers are soul mates from an earlier life, 'washed down the ages by the waves of our own act'. Back in England, the narrator hears the jungle rather than the garden, and he is drawn eventually to the eternal garden state.

Out of his travels to the Caucasus, he wrote his fullest statement of a pantheistic world-view, The Centaur (1911), which tells the story of a solitary author probing the 'extensions of the personality'. Like much else that he wrote, the book builds on nineteenth-century ideas, especially in German Romanticism, but anticipates twentieth-century concerns. One character studies the 'Self' that can be found beyond all personality 'types' and moves from there to the 'collective consciousness of the 26 Gothic Writers and Key Terms entire Universe'.

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