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This collection contains four rare Gothic chapbooks from the early 19th century including Sarah Wilkinson's Chateau de Montville, The Castle Spectre, CF.
Table of contents
Gothic Fiction - Alison Milbank
Contents 1 Literary Rubbish. The Gothic Bluebook.
- Angels Memoirs: Volume Two.
- Hitch a Ride!
- Sniff: Book One in Our Five-Book Sense Series!
- Almost Home.
- Account Options.
Recycling the Gothic in Periodicals and Anthologies. William Child Green. Appendix 1 Gothic Novels Appendix 2 Gothic Bluebooks Appendix 3 Gothic Tales Potter No preview available - Common terms and phrases A. Bibliographic information.
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One common device perfected by W. Grainger for a series of bluebooks published by Ann Lemoine, encloses each design in an heraldic shield or hexagram to allow the reader to view the Gothic events through a sort of frame. Another more sophisticated example of a framed scene is an illustration for Charles and Mary at the front of a compilation called The Marvellous Magazine, in which Charles stands behind in ivied Gothic arch peeping through to observe a religious procession leading a reluctant Mary to take enforced vows.
The arch both enacts and draws attention to her incarceration and separation from her lover outside, while providing a way into the Gothic past for the modern reader. The style is reminiscent of the Minerva Press frontispieces, which combine rigid frame and emotional content in satisfying counterpoint. Another striking feature of the illustration style is its histrionic use of gesture that imitates contemporary stagecraft.
Many of these shorter versions of celebrated novels are not by the author whose name appears on the title page, nor authorised by them. Other abridgements avoid copyright violations by altering the names of characters, or the title itself.
Another important difference between the chap-book and bluebook trade lies in their sales methods. Gothic chap-books however, were produced and sold by publishers and booksellers, so that Ann Lemoine at the White Rose in Coleman Street published pamphlets on a variety of subjects for Thomas Hurst and John Roe, all in London.
Tag: gothic
These had distributive networks at booksellers all over Britain and also in Dublin. Many of the names on the flyleaf indicate masculine ownership, and it is clear that the bluebooks served the middle and upper-class young with light reading material, as well as the large hinterland of the literate servant class. This popular and juvenile readership also accounts for the scarcity of these little books.
What surprises many a new reader of the Gothic bluebook is the gentility of the whole production. The writing style, despite the popular nature of the market, is complex, dense and allusive, with a more leisurely feel than one might expect.
Table of contents
Her figure was tall, bony and lank; her skin resembling that of a toad, hung in loose flakes upon her sinewy limbs; her long, black hair fell on her neck and shoulders. Her eyes were red and prominent; her lips were of shrivelled skin, that seemed not to conceal her black and projecting teeth which appear as fangs.
- Wesendonk-Lieder, WWV91, No. 1 - Der Engle (The Angel)?
- Tales from Gothic Chapbooks: Castles and Spectres.
- Books by Sarah Scudgell Wilkinson.
- Golden;
The 36 page sixpenny versions tend to present one or two scenes in this careful detail, while other parts of the story are narrated more briskly. Scenes chosen for extended treatment include agonistic encounters but especially spectral apparitions. Many of these tales follow Radcliffe in arousing superstitious terror only to dissipate it by rational explanation.