These stories, in all their narrative voicings, deal with sorrow and still seek to find life’s joys. Despite conflicts, contradictions, sacrifices, surprises and ironies, the haunted and hunted characters try to comprehend death in detail. In so doing, the human spirit rises up and triumphs against the incomprehensible and bewildering aspects of life, love and death.

This collection brings together six of Turgenev's best-known `long' short stories, in which he turns his skills of psychological observation and black comedy to subjects as diverse as the tyranny of serfdom, love, and revenge on the Russian steppes. These stories all display the elegance and clarity of Turgenev's finest writing.

Examining the automatic writing of the spiritualist séances, discursive technologies like the telegraph and the photograph, various genres and late nineteenth-century mental science, this book shows the failure of writers' attempts to use technology as a way of translating the supernatural at the fin de siècle. Hilary Grimes shows that both new technology and explorations into the ghostly aspects of the mind made agency problematic. When notions of agency are suspended, Grimes argues, authorship itself becomes uncanny. Grimes's study is distinct in both recognizing and crossing strict boundaries to suggest that Gothic literature itself resists categorization, not only between literary periods, but also between genres. Treating a wide range of authors - Henry James, Rudyard Kipling, Arthur Conan Doyle, George Du Maurier, Vernon Lee, Mary Louisa Molesworth, Sarah Grand, and George Paston - Grimes shows how fin-de-siècle works negotiate themes associated with the Victorian and Modernist periods such as psychical research, mass marketing, and new technologies. With particular attention to texts that are not placed within the Gothic genre, but which nevertheless conceal Gothic themes, The Late Victorian Gothic demonstrates that the end of the nineteenth century produced a Gothicism specific to the period.