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• Published on: 1980
• Binding: Paperback

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• Sales Rank: #2194957 in Books
• Published on: 2015-04-27
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .27" w x 5.00" l, .27 pounds
• Binding: Paperback
• 118 pages

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0 of 0 people found the following review helpful.
Preparing for the Inevitable
By Bill Girolamo
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0 of 0 people found the following review helpful.
that unfinished draft of the next great American novel
By Michael McQuilkin
We identify with our data. From pictures, various texts, critical business documents, that unfinished draft of the next great American novel...our data is an extension of ourselves. And, like many other things we take for granted, it's always just...there. In a world where data (and constant access to it)is perceived as a given, most don't ever consider the technology and planing that allows this to be a reality.

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0 of 0 people found the following review helpful.
Great Guidebook
By JB
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[Z304.Ebook] Ebook Download The Literature of Terror: Volume 1: The Gothic Tradition: 001, by David Punter

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The first edition was regarded as the definitive survey of Gothic and related terror writing in English. No other text considers this genre on such a scale and covers the theoretical perspectives so comprehensively. In the latest edition, the broad range of theoretical perspectives has been enlarged to include modern critical theories. Volume One is a thoroughly updated edition of the original text, covering the period from 1765 up to the Edwardian age, exploring the richness and literary diversity of the gothic form: from the original eighteenth-century gothic of Ann Radcliffe to the melodramatic fiction of Wilkie Collins.

• Sales Rank: #2062844 in eBooks
• Published on: 2014-05-22
• Released on: 2014-05-22
• Format: Kindle eBook

Amazon.com Review
This two-volume set (the other half is Volume 2: The Modern Gothic) by David Punter is more than simply a history of the gothic form in American and British literature. It's an ambitious attempt to redefine the word gothic so that it encompasses most of fantastic fiction and film for the past 200 years under a unifying theme: a preoccupation with fear. This is, of course, an extremely broad definition, so don't be surprised if you find yourself taking the theoretical sections of the book with a grain of salt. Also, since the book was first written in the late 1970s, much of the discussion of language and symbol relies on rather outdated Marxist and Freudian theories. Punter apologizes for the latter in the preface to the second edition, saying that rather than doing a massive revision, he decided to "leave it largely as an 'unrestored' period piece, with its own characteristic style, silhouette, and mood"--while adding additional material on the contemporary gothic.

Those caveats aside, however, The Literature of Terror is mostly successful as a comprehensive study. And it's an enormously useful reference for anyone with a more than passing interest in horror literature. Plus, it benefits from being the work of a single author: Punter is an extremely well-read scholar who perceives fascinating connections between a wide variety of books and films, and he explains his ideas lucidly enough that you can judge for yourself how far you agree with them.

Some of the high points are Punter's overview of what the word gothic means in other fields (such as architecture); his summaries of the roles of graveyard poetry, the sentimental novel, and the theory of the sublime in the development of the gothic concept; and his inclusion (as gothic and even horror writers) of such notables as Isak Dinesen, William S. Burroughs, Thomas Pynchon, J.G. Ballard, Angela Carter, Thomas Hawkes, and Robert Coover. If that's not enough to tempt you, the footnotes and bibliography alone offer ample yet well-chosen pointers to authors whose entertaining fiction you may not have discovered yet.

Best of all, The Literature of Terror is written in English--that is, not loaded down with annoying words such as transgressive and trope that mar so much of postmodern criticism. You can browse for information about specific authors or dip into it at your leisure without losing the thread. And for an academic work, it's darn fun to read. (Be sure to get both Volume 1 and Volume 2.) --Fiona Webster

From the Back Cover
The text provides an interpretative base for readers seeking a greater understanding of gothic writing and the literature of terror.

About the Author
David Punter is Professor of English at the University of Bristol, UK.

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A stunning forgery that has long-overshadowed debates about the author, his sibling, and his (unrequited) love for Lou Salome. My Sister and I, purportedly written by Freidrich in the asylum at Jena following his collapse (from late-stage syphilis) was widely published into the early 1950s, before its claimed authorship was finally debunked. The book itself is a wide-ranging set of diatribes, now and then returning to the supposed scribe's relations to women. Adding this work, not to renew scho

• Sales Rank: #1058023 in Books
• Published on: 1951
• Binding: Hardcover
• 254 pages

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8 of 9 people found the following review helpful.
Nietzsche did not write this book, and Levy did not translate it!
By Free Mason
I read Walter Kaufmann's articles, available in the AMOK publication of this book, in which he explains why this book is a forgery, I'll share some of the reasons: The original manuscript of this book in German supposedly "disappeared" according to Samuel Roth, owner of the original publisher, Seven Sirens Press. Roth was known for publishing other forgeries of famous authors, including a fake sequel to Lady Chatterley's Lover. Roth claimed Oscar Levy translated it, but Oscar Levy had died 4 years before this was published, and while Levy EDITED his "Complete Works of Friedrich Nietzsche" Levy never considered his English good enough to do the translations himself! If you look at Levy's "Complete Works", he's always listed as the editor but never the translator, so it's very unlikely that he would consider his English good enough for this book but none of Nietzsche's other books, and it's very unlikely that Levy would leave this book out of his Complete Works series and instead sell it to a guy known for publishing forgeries. Levy's daughter denounced the book as a forgery and stated that her father had nothing to do with it. George David Plotkin, a minor author, confessed to Kaufmann shortly before his death that he wrote this book for Roth.

0 of 1 people found the following review helpful.
is this really Nietzsche?
By Commodore Sloat
Nietzsche's authorship of this work is in dispute. One reviewer claims Levy would not sanction a forgery, but I find it interesting that Levy chose not to include it in the Complete Works of Nietzsche that he edited. I've read it, and whoever wrote it sounds a hell of a lot like Nietzsche. It's an interesting work whether or not it is authentic. I don't quite buy the idea that his sister commissioned it since it does not make her look very good. It is possible that the motivation of claims of inauthenticity is a need to protect Nietzsche's reputation in the eyes of puritanical fans and that the work is indeed authentic, but it is also possible that it is a forgery (it sounds like him, but his style is easily parodied).

3 of 9 people found the following review helpful.
An interesting perspective on Nietzsche and his work
By J. Patterson
A diary from an insane asylum attributed to the most important philosopher of the post-modern era...

This book is controversial. Not for whether it is by Nietzsche himself (which it most likely is) but because it confesses to his sister's molestation of Nietzsche, and his subsequent erotic desires for her. If true, Nietzsche would have repressed such issues during his life, and only felt the courage to speak out about them close to his death. And if true, it pokes a gaping hole in the theory that Elisabeth commissioned this work, as it paints an unflattering picture of her.

This book would be very entertaining for both casual readers, as well as Nietzsche scholars. It is an interesting look into the mind of a brilliant genius. The fact that this book is often ignored by Nietzsche scholars seems to be a bit strange. Why? I believe that this book represents a diminution of Nietzsche's emphasis on the value of individual strength. Nietzsche in this text shows himself to be vulnerable to an overwhelming need for solace and love from others, values which he denounced throughout his career. (This adds further credence to the belief that this work is truly his, since what single dying man wouldn't wish that he had people who really cared for him around?) It seems that if a conspiracy existed to make one more Nietzsche book, it would have been a further exhortation to the will to power. However, because this book can be read as a parenthetical withdrawal from his espoused doctrines, it shows why theoreticians would decry its legitimacy. It is much easier to understand a man's writings if one ignores a lengthy inner contradiction.

But this is all the more a testament to the book's possible authenticity. Nietzsche's work is full of contradiction and reconfiguring of values. As he insists in the introduction to Beyond Good and Evil, why must we insist on the truth? Why not rather untruth?

An entertaining challenge to one's perspective on Nietzsche's philosophy, whether it is authentic or not.

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