This is a short murder-mystery novel. It tells the story of Martin, a criminal who seduces and murders Emily in a bid to marry another woman. Will the other woman find out about Martin's crime?

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

William Gilmore Simms’s (1806–1870) body of work, a sweeping fictional portrait of the colonial and antebellum South in all its regional diversity, with its literary and intellectual issues, is probably more comprehensive than any other nineteenth-century southern author. Simms’s career began with a short novel, Martin Faber, published in 1833. This Gothic tale is reminiscent of James Hogg’s Confessions of a Sinner and was written four years before Edgar Allan Poe’s “William Wilson.” Narrated in the first person, it is considered a pioneering examination of criminal psychology. Martin seduces then murders Emily so that he might marry another woman, Constance. Martin confesses to his friend and is killed after attempting to stab Constance when she visits him in jail. The book was immediately successful and was well received by the northern media, thus starting Simms’s successful career as a writer, one that would rank him as the only major southern literary figure besides Poe before the Civil War. As with other volumes in the Arkansas Edition of Simms’s work, this volume includes a critical introduction by the editor and a Simms chronology, as well as appendices dealing with textual matters. This edition also includes Simms’s 1829 story, “Confessions of a Murderer,” which was the germ for his first book of fiction.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1837 edition. Excerpt: ... sound coming from the breeze through the bending tree-tops, all seem well calculated to beget fine thoughts--daring fancies--bold and striking emotions." "You talk of taking life as if it were the crowning crime. It appears to me an error of society, by which the existence of a being, limited to a duration of years, is invested with so much importance. A few years lopped from the life of an individual is certainly no such loss, shortening, as it must, so many of his cares and troubles; and the true standard by which we should determine upon a deed, is the amount of good or evil which it may confer upon the person or persons immediately interested." "That is not the standard," was his reply, " since that would be making a reference to varying and improper tribunals to determine upon principles which should be even and immutable. To some men, from the operation of circumstances, or from their own improvidence, death would be welcome even by violence; and the feeling with which such a man would submit to the executioner, can surely afford no standard by which to determine upon the fate of others not so situated, and not having the same feeling or condition with himself. Life is a sacred something which we do not venerate enough. It is considered quite too lightly by society, and it appears to me, if we believe for a moment in the immortality of the soul and the doctrine of rewards and punishments, we have not the right, even in the case of the criminal, to doom him to a loss of it. The idea is horrible which conceives the murder of a human being, even according to the standard you suggest; for, leave the choice but a moment to the victim, and he will submit, in most cases, to the loss of all his possessions, and even of his liberty, to...

What is crime? What constitutes violence? What is it permissible to talk about or describe in cultural depictions of crime and violence? What is the impact of portraying crime and violence on an audience? How are crime and violence presented to make them culturally acceptable for educational or entertainment purposes? This book examines representations of violence and crime both historically and in relation to contemporary culture across a wide range of media, including fiction, film, art, biography, and journalism, to interrogate the issues raised. While some articles here analyze the ethics invoked by different representative frameworks, the danger that violence will be treated as spectacle, and the implications of using violence as a polemical device to shift public sentiment, others address the relationship between coercive power, crime and violence that is not necessarily primarily physical, and the political or ideological contexts in which narratives of good and evil are constructed and crime defined.

Engaging approaches to the vast output of South Carolina's premier man of letters William Gilmore Simms was the best known and certainly the most accomplished writer of the mid-nineteenth-century South. His literary ascent began early, with his first book being published when he was nineteen years old and his reputation as a literary genius secured before he turned thirty. Over a career that spanned nearly forty-five years, he established himself as the American South's premier man of letters—an accomplished poet, novelist, short fiction writer, essayist, historian, dramatist, cultural journalist, biographer, and editor. In Reading William Gilmore Simms, Todd Hagstette has created an anthology of critical introductions to Simms's major publications, including those recently brought back into print by the University of South Carolina Press, offering the first ever primer compendium of the author's vast output. Simms was a Renaissance man of American letters, lauded in his time by both popular audiences and literary icons alike. Yet the author's extensive output, which includes nearly eighty published volumes, can be a barrier to his study. To create a gateway to reading and studying Simms, Hagstette has assembled thirty-eight essays by twenty-four scholars to review fifty-five Simms works. Addressing all the author's major works, the essays provide introductory information and scholarly analysis of the most crucial features of Simms's literary achievement. Arranged alphabetically by title for easy access, the book also features a topical index for more targeted inquiry into Simms's canon. Detailing the great variety and astonishing consistency of Simms's thought throughout his long career as well as examining his posthumous reconsideration, Reading William Gilmore Simms bridges the author's genius and readers' growing curiosity. The only work of its kind, this book provides an essential passport to the far-flung worlds of Simms's fecund imagination.