A Whisper in the Dark: Twelve Thrilling Tales by Louisa May by Louisa May Alcott

By Louisa May Alcott

This assortment represents the easiest of Alcott's grownup oeuvre, beginning with A sleek Mephistopheles, a dismal Faustian story encouraged via A lengthy deadly Love Chase. The tales during this quantity show dramatic depth and exciting, suspenseful plots that convey Alcott to be a fancy and passionate author. Readers will become aware of inside this maelstrom of homicide, deceit, obsessive hope, treachery, duplicity, and betrayal that love and honor can nonetheless triumph over all.

The e-book takes its identify from the story "A Whisper within the Dark," arguably Alcott's high-gothic masterpiece, a narrative of imperiled innocence.

Also featured are: "The Abbot's Ghost," one in every of Alcott's few thrillers that employs the supernatural; "Perilous Play," a sensationalist tale within which she means that with the suitable stimulation—in this example hashish—even the blameless display a depressing aspect; and V.V.; or Plots and Counterplots, fraught with ardour and jealousy that introduces the mysterious Virginie Varens, the darkest heroine in all of her paintings.

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Additional resources for A Whisper in the Dark: Twelve Thrilling Tales by Louisa May Alcott

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Mulvagh's Protestantism was one of the reasons why Nora's brut­ ish uncle, Thomas Healy, forbade her from seeing him; when he caught her disobeying, he ordered her mother to leave the room and - as Joyce later reported it - 'proceeded to thrash her with a big walking-stick. She fell on the floor fainting and clinging about his knees. At this time she was nineteen! ' (LII 73). Within a week, she ran away to Dublin. The young woman Joyce met was thus independent and head­ strong: she never bent her character to his preconceptions about what she 'should' be like, and to his credit he seems rarely to have wanted her to.

Finally, however, Richards decided he could not publish the book at all. Given the world of publishing in which he had to operate, his behaviour could charitably be regarded as timid rather than outra­ geous or malicious. A similarly generous reaction seems less in order towards George Roberts, of the Dublin firm of Maunsel and Co. Dubliners had been considered by a number of publishers for several years after Richards's decision when, in 1909, Roberts, whom Joyce had known in Dublin, accepted it.

So it is not surprising that Stanislaus's original suggestion that the volume be called Chamber Music was accepted (Diary 28). 4]). Arthur Symons helped Joyce place the volume with the publisher Elkin Matthews (LII 172), and the book came out in May 1907. Other work besides his fiction also eventually found publication, sooner or later in one way or another. Some of his aesthetic and critical ideas, notably, became part of the fabric of A Portrait of the Artist as a Young Man. Joyce early evinced interest in theoretical concepts of aesthetics.

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