"His foot struck against something, he stumbled, and had nearly fallen; he stooped to examine what it was, and his hand rested on the face of a human being, cold, putrid, and clammy " Young Edgar's father, the noble Baron Fitz-Elmar, has been mysteriously slain, and his uncle, the scheming Sir Armine, rules in his place. Determined to retain power, Armine will stop at nothing to destroy Edgar, who stands to inherit the castle. Now Edgar must flee his tyrannical uncle and outrun the murderous army of assassins sent to kill him. His flight will lead him, on a dark and stormy night, to a ruined priory, where he will discover the horrible truth behind his father's untimely end. A gothicized retelling of Hamlet, and heavily influenced by the tragedies of Shakespeare and the Gothic romances of Walpole and Radcliffe, The Phantom of the Castle was the first of Richard Sickelmore's Gothic novels. This edition, the first since its initial publication in 1798, includes a new introduction, notes, and the complete text of contemporary reviews.
Scott confronts conventional historians and looks at the evidence, archaeological and textual, for the proposition that three centuries, roughly between 615 and 915, never existed and are "phantom" years. The author shows in detail how no archaeology exists for these three centuries, and that the material remains of the seventh century closely resemble those of the tenth, and lie directly beneath them. This is the first book on this topic in the English language, though Heribert Illig's books on the same topic, 'Das erfundene Mittelalter' and 'Wer hat an der Uhr Gedreht?' have been best sellers in German-speaking Europe.
This is the most comprehensive analytical study ever done of The Phantom of the Opera in its many different versions from the original Gaston Leroux novel to the present day. It proposes answers to the question, 'why do we keep needing this story told and retold in the Western world?' by revealing the history of deep cultural tensions that underlie the novel and each major adaptation. Using extensive historical and textual evidence and drawing on perspectives from several theories of cultural study, this book argues that we need this tale told and reconfigured because it provides us ways to both confront and disguise how we have fashioned our senses of identity in the Western middle class. The Phantom of the Opera - in varying ways over time - turns out like the 'Gothic' tradition it extends, to be deeply connected to Western self-fashioning in the face of conflicted attitudes about class, gender, race, religious beliefs, Freudian psychology, economic and international tensions, and especially the shifting and permeable boundaries between 'high' and 'low' culture. This book should interest all students of the history of Western culture, as well as those especially fascinated by Gothic fiction, opera, musical theatre, and film.
An old evil threatens to rise from the depths of the warded city… Sixteen-year-old Marianne lives a simple life as a healer in the Link, looking after her younger brother since their parents’ exile. Little does she know how everything will change after attending the blessing in the city of Obanac. After her brother is wrongfully imprisoned, Marianne seeks his release from Crawford Reign, the Lord of Obanac. But she’s faced with an impossible choice—the lord wants her in exchange. To save her brother she turns to the daring outlaw Robbie and his friends for help. Along with the help of Theo, the holy man’s son, a daring rescue soon uncovers rumors of an old sorcerer who may still live and whispers of the phantom’s curse—an evil that requires a host and seeks to destroy the world—threatening to resurface. With the threat of an old evil rising in Obanac and the attacks of the Black Riders throughout the realm, nowhere seems safe. To save the people of the land and everyone she cares about, Marianne must unlock the secret to who she really is and embrace the mage magic that stirs within her.
The Phantom says'Roll up! Roll up for spectres!Roll up for Apparitions!Come in and see the Gremlins- all sizes, shapes and conditions.Roll up for my Fangtastic Show!Be quick, we're starting in a mo.Take your places...if you dare' This is a collection of original spooky poems written by Wes Magee, a noted children's poet whose poems can be found in many children's anthologies. He lives in Rosedale Abbey, Yorkshire. The poems are illustrated with a great sense of humour by Leo Broadley, who teaches illustration at the University of Derby. This is his first book.