7 best short stories - Ghost Stories

7 best short stories - Ghost Stories
Автор книги: id книги: 2156107     Оценка: 0.0     Голосов: 0     Отзывы, комментарии: 0 137 руб.     (1,34$) Читать книгу Купить и скачать книгу Электронная книга Жанр: Языкознание Правообладатель и/или издательство: Bookwire Дата добавления в каталог КнигаЛит: ISBN: 9783968582764 Скачать фрагмент в формате   fb2   fb2.zip Возрастное ограничение: 0+ Оглавление Отрывок из книги

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Welcome to the book series 7 best short stories specials, selection dedicated to a special subject, featuring works by noteworthy authors. The texts were chosen based on their relevance, renown and interest. This edition is dedicated to ghost stories.<br /> <br /> The critic Augst Nemo brings seven tales with tormented souls that will make you shiver:<br /> <br /> – An Authentic Narrative of a Haunted House by Sheridan le Fanu.<br /> – The Old Nurse's Story by Elizabeth Gaskell.<br /> – A Warning to the Curious by M. R. James.<br /> – Nightmare-Touch by Lafcadio Hearn.<br /> – The Furnished Room by O. Henry.<br /> – The Phantom Rickshaw by Rudyard Kipling.<br /> – The Open Window by Saki<br /> Bonus: Supernatural Horror in Literature by H. P. Lovecraft.

Оглавление

Редьярд Джозеф Киплинг. 7 best short stories - Ghost Stories

Introduction

Supernatural Horror in Literature

I

II

III

IV

V

VI

VII

VIII

IX

X

An Authentic Narrative of a Haunted House

The Old Nurse’s Story

A Warning to the Curious

Nightmare-Touch

I

II

III

The Furnished Room

The Phantom ‘Rickshaw

The Open Window

Notas

About the Publisher

Отрывок из книги

A ghost story may be any piece of fiction, or drama, that includes a ghost, or simply takes as a premise the possibility of ghosts or characters' belief in them. The "ghost" may appear of its own accord or be summoned by magic. Linked to the ghost is the idea of "hauntings", where a supernatural entity is tied to a place, object or person.

Colloquially, the term "ghost story" can refer to any kind of scary story. In a narrower sense, the ghost story has been developed as a short story format, within genre fiction. It is a form of supernatural fiction and specifically of weird fiction, and is often a horror story.

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This type of fear-literature must not be confounded with a type externally similar but psychologically widely different; the literature of mere physical fear and the mundanely gruesome. Such writing, to be sure, has its place, as has the conventional or even whimsical or humorous ghost story where formalism or the author's knowing wink removes the true sense of the morbidly unnatural; but these things are not the literature of cosmic fear in its purest sense. The true weird tale has something more than secret murder, bloody bones, or a sheeted form clanking chains according to rule. A certain atmosphere of breathless and unexplainable dread of outer, unknown forces must be present; and there must be a hint, expressed with a seriousness and portentousness becoming its subject, of that most terrible conception of the human brain--a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daeligmons of unplumbed space.

Naturally we cannot expect all weird tales to conform absolutely to any theoretical model. Creative minds are uneven, and the best of fabrics have their dull spots. Moreover, much of the choicest weird work is unconscious; appearing in memorable fragments scattered through material whose massed effect may be of a very different cast. Atmosphere is the all-important thing, for the final criterion of authenticity is not the dovetailing of a plot but the creation of a given sensation. We may say, as a general thing, that a weird story whose intent is to teach or produce a social effect, or one in which the horrors are finally explained away by natural means, is not a genuine tale of cosmic fear; but it remains a fact that such narratives often possess, in isolated sections, atmospheric touches which fulfill every condition of true supernatural horror-literature. Therefore we must judge a weird tale not by the author's intent, or by the mere mechanics of the plot; but by the emotional level which it attains at its least mundane point. If the proper sensations are excited, such a "high spot" must be admitted on its own merits as weird literature, no matter how prosaically it is later dragged down. The one test of the really weird is simply this--whether of not there be excited in the reader a profound sense of dread, and of contact with unknown spheres and powers; a subtle attitude of awed listening, as if for the beating of black wings or the scratching of outside shapes and entities on the known universe's utmost rim. And of course, the more completely and unifiedly a story conveys this atmosphere the better it is as a work of art in the given medium.

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