There are strong elements of social and political satire in this projection of early 1930's anxieties into the near-future: Disaster looms for civilization, as the Communist Party, The British Union of Fascists, a decorated war-hero, Scotland Yard, and a Coalition government dominated by Winston Churchill and Oswald Mosley, struggle for the soul of an United Kingdom threatened by riot, anarchy, civil war, revolution and the nameless evil which is 'sin incarnate' in the unlikely guise of the lovely young Duchess of Dove, whose activities during the summer of 1938 bring her diabolical alter ego notoriety as 'Jane the Ripper' [sic.].

In the most comprehensive selection of his letters ever published, Norman Gates allows Richard Aldington to tell the story of his life in his own words. Unlike Aldington's autobiography, Life for Life's Sake, published twenty years before his death, these letters include those two important decades of his life and do not depend upon memory. Gates provides an introduction to each of the book's five sections, sketching Aldington's biography during that decade, but the reader may then listen to Aldington's own voice speaking through his letters. Richard Aldington was married to the American poet H. D. and was a friend to many other writers and artists at the center of the Modern period. His comments on his colleagues and their work, his efforts to promote their literary fortunes, his passionate love for two wives and two mistresses, are all a part of these letters. So, too, are his experiences on the editorial staffs of the Egoist and the Criterion, which brought him to touch with European and American writers. For a clear picture of the literary world of this time, Aldington's letters are indispensable.

Science Fiction and Fantasy Literature, A Checklist, 1700-1974, Volume one of Two, contains an Author Index, Title Index, Series Index, Awards Index, and the Ace and Belmont Doubles Index.

This book contributes to an emerging field of study and provides new perspectives on the ways in which Gothic literature, visual media, and other cultural forms explicitly engage gender, sexuality, form, and genre. The collection is a forum in which the ideas of several well-respected critics converge, producing a breadth of knowledge and a diversity of subject areas and methodologies. It is concerned with several questions, including: How can we discuss Gothic as a genre that crosses over boundaries constructed by a culture to define and contain gender and sexuality? How do transgender bodies specifically mark or disrupt this boundary crossing? In what ways does the Gothic open up a plural narrative space for transgenre explorations, encounters, and experimentation? With this, the volume’s chapters explore expected categories such as transgenders, transbodies, and transembodiments, but also broader concepts that move through and beyond the limits of gender identity and sexuality, such as transhistories, transpolitics, transmodalities, and transgenres. Illuminating such areas as the appropriation of the trans body in Gothic literature and film, the function of trans rhetorics in memoir, textual markers of transgenderism, and the Gothic’s transgeneric qualities, the chapters offer innovative, but not limited, ways to interpret the Gothic. In addition, the book intersects with but also troubles non-trans feminist and queer readings of the Gothic. Together, these diverse approaches engage the Gothic as a definitively trans subject, and offer new and exciting connections and insights into Gothic, Media, Film, Narrative, and Gender and Sexuality Studies.

A Rabelaisian collection of prose and poesy as recalled by that Old Curmudgeon, Grampa. The stories, limericks and one-liners range from rather bland to quite blue. Many Golden Oldies are included in the book. Warning:This collection is definitely not for children.