Peter Ackroyd is one of the foremost contemporary British “London writers”. He focuses on the capital, its history, development and identity, both in his fiction and non-fiction. The London of his novels is thus a highly idiosyncratic construct which reflects and derives from its author’s ideas about the actual city’s nature as well as his concept of the English literary sensibility in general as he outlines them in his lectures and historical and literary studies. It is an exceptionally heterogeneous city of enormous diversity and richness of human experience, moods and emotion, of actions and events, and also of the tools through which these are (re)presented and reenacted. According to Ackroyd, this heterogeneity mostly originates outside the sites and domains of the established or mainstream cultural production and social norms and conventions, particularly in occult practices, subversive acts and the plotting of radical individuals or groups, criminal and fraudulent activities of various kinds, dubious scientific experiments, and the popular dramatic forms of ritual and entertainment whose permanent encounters with and contesting of the officially approved and prescribed forms instigate the city’s vitalising energy for dynamic change and spiritual renewal. This book presents the world of Ackroyd’s London novels as a distinct chronotope determined by specific spatial and temporal properties and their mutual interconnectedness. Although such a concept of urban space in its essence defies categorisation, the book is thematically organised around six defining aspects of the city as Ackroyd identifies them: the relationship between its past and present, its uncanny manifestations, its felonious tendencies, its inhabitants’ psychogeographic and antiquarian strategies, its theatricality, and its inherently literary character.

Tracing the genre through fiction, visual art, film and videogames from the 1980s to the present, this book offers a comprehensive exploration of the intersection between neo-Victorianism, urban spaces and Steampunk. Characterised by its interplay between past and present and its anachronistic retro-speculation, Neo-Victorian-infused Steampunk remixes modern collective memory to produce a re-imagined vision of Victorian London. Investigating how Steampunk's re-calibrated Londons both source from and subvert Victorian discourse about the city, Steampunk London offers a deeper understanding of how a popular cultural memory of the Victorian past is shaped and transmitted in light of present-day identity politics. Covering key themes including retrofuturism, gender and sexuality, colonialism and postcolonialism, it considers such ideas as how early Steampunk synthesizes Victorian urban ethnography; how Victorian urban Gothic shapes shared transmedia memory to challenge reactionary, nostalgic meta-narratives; how Steampunk video games mobilize urban space as an immersive storytelling device with cities open to play; and how Steampunk interprets the modern metropolis as an opportunity for feminist and queer agency. Through examination of Victorian-era writers from Charles Dickens to Arthur Conan Doyle, the book digs into works of fiction and media alike, looking at The Difference Engine, Soulless, and The League of Extraordinary Gentlemen, From Hell, Guy Ritchie's Sherlock Holmes, cyberpunk classic Blade Runner, and Assassin's Creed: Syndicate and The Order 1886. An important intervention in the study of steampunk, Helena Esser demonstrates how the works explored invite participatory consumption and considers the genre's potential- and failures- to interrogate and challenge our relationship with the Victorian past.

Neo-Gothic Narratives defines and theorises what, exactly, qualifies as such a text, what mobilises the employment of the Gothic to speak to our own times, whether nostalgia plays a role and whether there is room for humour besides the sobriety and horror in these narratives across various media. What attracts us to the Gothic that makes us want to resurrect, reinvent, echo it? Why do we let the Gothic redefine us? Why do we let it haunt us? Does it speak to us through intertexuality, self-reflectivity, metafiction, immersion, affect? Are we reclaiming the history of women and other subalterns in the Gothic that had been denied in other forms of history? Are we revisiting the trauma of English colonisation and seeking national identity? Or are we simply tourists who enjoy cruising through the otherworld? The essays in this volume investigate both the readerly experience of Neo-Gothic narratives as well as their writerly pastiche.

This book proposes a new approach to the literary representations of London by means of correlating geocriticism, spatial literary studies and memory studies in order to investigate the interplay between reality and fiction in mapping the urban imaginary. It conducts an analysis of depictions of London in British literature published between 1975 and 2005, exploring the literary representations of the real urban restructurings prompted by the rebuilding projects in war and poverty-stricken districts of London, the remapping of the metropolis by immigrants, gentrification and the displacement of communities, as well as the urban dissolution caused by terrorism. The selected works of fiction written by Peter Ackroyd, Penelope Lively, Zadie Smith, Andrea Levy, J.G. Ballard, Michael Moorcock, Doris Lessing and Ian McEwan provide a record of the city in times of de/reconstruction, emphasizing the structure of London as a palimpsest, which becomes a central image. The book contributes to the development of the subject field by introducing a number of original concepts which connect geocriticism and memory studies.

Architecture in Contemporary Literature artfully weaves the tapestry of architecture with the eloquence of modern literary masterpieces. In this follow up to their earlier work on architecture in fictional literature, the editors have carefully selected 31 significant works from contemporary world literature, offering a fresh educational approach to literary critique and architecture. This exploration allows readers to perceive life through the lens of architectural backgrounds. Nature, society, humans, and cities come to life through these chosen literary gems. Extensive collaboration with architects, intellectuals, academics, writers, and thinkers culminates in the selection of influential works that guide present-day architectural perspectives and aspirations. The book promises to be a valuable reference for undergraduate and graduate students in architecture, interior architecture, urban planning, fine arts, humanities, social sciences, and various design disciplines. Yet, its appeal also extends to anyone with an appreciation for urban life and a desire for a broader understanding of the intricacies of architecture. Whether you're an expert in design, culture, art, sociology, or literature, or simply an avid learner, Architecture in Contemporary Literature is a compelling exploration that deserves a prominent place on your bookshelf. Engage with its pages and immerse yourself in the fusion of architectural insight and literary artistry.

Now a major motion picture A literary star returns with an addictive tale of murder in Victorian London. Peter Ackroyd is "our most exciting and original writer... one of the few English writers of his generation who will be read in a hundred years' time." -- The Sunday Times (London) Without a doubt, Peter Ackroyd's breakout book. It has all the erudition and literary brilliance we expect of Ackroyd, yet it is as vivid, scary, and spellbinding as the best of Edgar Allan Poe. The year is 1880, the setting London's poor and dangerous Limehouse district, home to immigrants and criminals. A series of brutal murders has occurred, and, as Ackroyd leads us down London's dark streets, the sense of time and place becomes overwhelmingly immediate and real. We experience the sights and sounds of the English music halls, smell the smells of London slums, hear the hooves of horses on the cobblestone streets, and attend the trial of Elizabeth Cree, a woman accused of poisoning her husband but who may be the one person who knows the truth about the murders. The wonderfully rhythmic shifting of focus from trial to back alleys, where we come upon George Gissing, author of New Grub Street, and even Karl Marx, gives the story a tremendous depth and resonance beyond its page-turning thriller plot. Peter Ackroyd has once again confirmed his place as one of the great writers of our time. Previously published as The Trial Of Elizabeth Cree.