"The Devil's Elixir Vol. I" by using E. T. A. Hoffmann is a gripping Gothic novel that unfolds in a global of mystery, intrigue, and supernatural elements. The narrative revolves around the enigmatic individual of the monk Medardus, whose lifestyles takes a dark turn after he inadvertently consumes a mysterious elixir. Set towards the backdrop of 18th-century Germany, the story explores themes of morality, guilt, and the conflict between properly and evil. As Medardus grapples with the results of the elixir, the radical delves into mental and philosophical depths, blurring the strains between fact and the supernatural. The plot takes surprising twists as Medardus will become entangled in a series of macabre events, together with murder, mystery societies, and encounters with the occult. E. T. A. Hoffmann, recognized for his prowess in weaving memories of the uncanny, creates a narrative that captivates readers with its atmospheric descriptions and mental intensity. "The Devil's Elixir" is marked via Hoffmann's exploration of the human psyche, showcasing his capacity to meld horror and philosophy into an unbroken narrative. Vol. I of "The Devil's Elixir" units the level for a compelling adventure into the darker nation-states of human life.

De Quincey's Gothic Masquerade is what has long been needed, a study of Thomas De Quincey's Gothic and Gothic-related texts by a Germanist working on Gothic and specializing in Anglo-German literary relations. Variously identified as Gothic Hero, Gothic Parasite, and author of a Gothick sport, De Quincey is the dark horse of Gothicism, for while his work has, increasingly, been associated with Gothic, not one of the recent companions to Gothic so much as mentions his name. Definitions of what is meant by 'Gothic' have changed, of course, and are still evolving, claiming more territory all the time, but Gothic specialists also have their blind spots, of whom De Quincey is one. One reason for this state of affairs will be the fact that in his work the Gothic is interwoven with the German, to which modern English studies all too often turn a blind eye. In this timely study of his work in relation to Gothic convention the author addresses the question of De Quincey's reputed knowledge of German 'Gothic' Romantic literature and the related question of supposed German influences on his Gothic work, and shows that his fiction is not less but more original than has been thought. The texts examined are those on which, for better or worse, his reputation as a writer both of autobiography and of fiction depends. Focusing on the Gothic takes one to the heart of his literary masquerade, and more especially to the heart of his masked autobiographical enterprise. Gothic, because of its formulaic nature, represents a place where he belongs, a place where his sense of guilt can be seen as part of a wider pattern, thus countering his pariah self-image and enabling him to make some sort of sense of the Gothic ruin of his life. Addressed to all who are interested in De Quincey's work and its place in literary history, and to the many readers in the English and German-speaking worlds who share De Quincey's and the author's enthusiasm for Gothic, this book adds considerably to the scope of De Quincey studies, which it enables to move on from some of the main unanswered questions of the past.

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.