Everyone has a dark side. Dr Jekyll has discovered the ultimate drug. A chemical that can turn him into something else. Suddenly, he can unleash his deepest cruelties in the guise of the sinister Hyde. Transforming himself at will, he roams the streets of fog-bound London as his monstrous alter-ego. It seems he is master of his fate. It seems he is in complete control. But soon he will discover that his double life comes at a hideous price...

"Olalla" is a short story by the Scottish novelist, poet, essayist and travel writer Robert Louis Stevenson. It was first published in the Christmas 1885 issue of The Court and Society Review, then re-published in 1887 as part of the collection The Merry Men and Other Tales and Fables. It is set in Spain during the Peninsular War. A Scottish soldier recovering from his injuries in Spain goes to stay with a local family, where he eventually meets the beautiful Olalla and falls in love with her. But things won't be smooth sailing for either of them...

This dark psychological fantasy is more than a moral tale. It is also a product of its time, drawing on contemporary theories of class, evolution and criminality and the secret lives behind Victorian propriety, to create a unique form of urban Gothic.

Robert Louis Stevenson: Writer of Boundaries reinstates Stevenson at the center of critical debate and demonstrates the sophistication of his writings and the present relevance of his kaleidoscopic achievements. While most young readers know Robert Louis Stevenson (1850–1894) as the author of Treasure Island, few people outside of academia are aware of the breadth of his literary output. The contributors to Robert Louis Stevenson: Writer of Boundaries look, with varied critical approaches, at the whole range of his literary production and unite to confer scholarly legitimacy on this enormously influential writer who has been neglected by critics. As the editors point out in their Introduction, Stevenson reinvented the “personal essay” and the “walking tour essay,” in texts of ironic stylistic brilliance that broke completely with Victorian moralism. His first full-length work of fiction, Treasure Island, provocatively combined a popular genre (subverting its imperialist ideology) with a self-conscious literary approach. Stevenson, one of Scotland’s most prolific writers, was very effectively excluded from the canon by his twentieth-century successors and rejected by Anglo-American Modernist writers and critics for his play with popular genres and for his non-serious metaliterary brilliance. While Stevenson’s critical recognition has been slowly increasing, there have been far fewer published single-volume studies of his works than those of his contemporaries, Henry James and Joseph Conrad.