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Wormwood: A Drama of Paris de Marie Corelli

Wormwood: A Drama of Paris

Autor Marie Corelli Editat de Kirsten MacLeod
en Limba Engleză Paperback – 8 apr 2004
Though disparaged by literary critics of her day, Marie Corelli was one of the most popular novelists of the late Victorian and Edwardian periods. Wormwood (1890) is a lurid tale of unrequited love, betrayal, vengeance, murder, suicide, and addiction. The novel recounts the degeneration of Gaston Beauvais, a promising young Parisian man who, betrayed by his fiancée and his best friend, falls prey to the seductive powers of absinthe. The impact of Gaston’s debauchery and addiction on himself, his family, and his friends is graphically recounted in this important contribution to the literature of fin de siècle decadence.
This Broadview edition includes a critical introduction and a generous selection of contextualizing documents, including excerpts from Corelli’s writings on art and literature, nineteenth-century degeneration theories, and clinical and artistic views on absinthe.
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Specificații

ISBN-13: 9781551114194
ISBN-10: 1551114194
Pagini: 407
Dimensiuni: 140 x 216 x 21 mm
Greutate: 0.55 kg
Editura: BROADVIEW PR
Colecția Broadview Press
Locul publicării:Peterborough, Canada

Recenzii

Though disparaged by literary critics of her day, Marie Corelli was one of the most popular novelists of the late Victorian and Edwardian periods. Wormwood (1890) is a lurid tale of unrequited love, betrayal, vengeance, murder, suicide, and addiction. The novel recounts the degeneration of Gaston Beauvais, a promising young Parisian man who, betrayed by his fiancée and his best friend, falls prey to the seductive powers of absinthe. The impact of Gaston’s debauchery and addiction on himself, his family, and his friends is graphically recounted in this important contribution to the literature of fin de siècle decadence.
This Broadview edition includes a critical introduction and a generous selection of contextualizing documents, including excerpts from Corelli’s writings on art and literature, nineteenth-century degeneration theories, and clinical and artistic views on absinthe.

“Marie Corelli’s novels are breathtakingly inventive, often defiant interjections in the late-Victorian literary scene, one-of-a-kind mixtures of romance, decadence, aestheticism, naturalism, and the New Woman fiction. This Broadview edition of Wormwood, Corelli’s attack on Paris absintheurs, provides an able introduction to the author’s life, helpful glosses on Corelli’s creative use of many French words and phrases, and extensive background on bohemian Paris, British francophobia, and contemporary controversies surrounding naturalism and degeneration theory. The appendices contextualize the novel’s fascination with addiction and art, passion and pathology. This edition is the most thorough and responsible treatment of Corelli’s work to date.” — Annette R. Federico, James Madison University
“This edition makes Wormwood, arguably Marie Corelli’s most controversial novel, available once again. Kirsten MacLeod’s astutely selected appendices, including materials about degeneration theory and naturalism, translations of cited French poems and songs, contemporary reviews, and epistolary extracts conveying Corelli’s aesthetic philosophy, serve well to culturally contextualize this work, making this edition the obvious choice.” — Carol Margaret Davison, University of Windsor
“Yahoo! I’m so glad you’re publishing Corelli! The most unique collection of rare texts on the planet! Thanks!” — Curt Herr, Kutztown University

Cuprins

Acknowledgements
Introduction
Marie Corelli: A Brief Chronology
A Note on the Text
Corelli’s Introductory Note
Wormwood: A Drama of Paris
Appendix A: Translations of French Poems and Songs in Wormwood
  1. Charles Cros, “L’Archet” (1873)
  2. Anonymous, “Le Pauvre Clerc”
Appendix B: Letters from Corelli to George Bentley about Wormwood
Appendix C: Reviews of Wormwood
  1. From The Athenaeum (15 November 1890)
  2. From the Pall Mall Gazette (27 November 1890)
  3. From The Graphic (29 November 1890)
  4. From The Academy (29 November 1890)
  5. From Kensington Society, qtd. in Academy (13 December 1890)
  6. From Literary World (17 January 1891)
  7. From The Times (23 January 1891)
  8. From The Spectator (28 February 1891)
  9. From County Gentlewoman, qtd. in Academy(11 July 1891)
  10. From Kent Carr, Miss Marie Corelli (1901)
Appendix D: Corelli on Literature and Art
  1. Letter to George Bentley, 11 March 1877
  2. Letter to George Bentley, 6 April 1877
  3. From “‘Imaginary Love’” (1905)
  4. From “The ‘Strong’ Book of the Ishbosheth” (1905)
Appendix E: British Views of Naturalism
  1. From W.S. Lilly, “The New Naturalism” (1885)
  2. From H. Rider Haggard, “About Fiction” (1887)
  3. From the National Vigilance Association, Pernicious Literature (1889)
Appendix F: Nineteenth-Century Degeneration Theories
  1. From E. Ray Lankester, Degeneration: A Chapter in Darwinism (1880)
  2. From Gina Lombroso-Ferrero, Criminal Man (1911)
Appendix G: Clinical and Artistic Views of Absinthe
  1. Findings of Dr. Legrand, The Times (4 May 1869)
  2. From the New York Times (12 December 1880)
  3. Charles Cros, “Lendemain” (1873)
  4. Arthur Symons, “The Absinthe-Drinker” (1892)
  5. Ernest Dowson, “Absinthia Taetra” (1899)
Select Bibliography

Notă biografică

Marie Corelli (1855-1924) was an English novelist. Born Mary Mackay in London, she was sent to a Parisian convent to be educated in 1866. Returning to England in 1870, Corelli worked as a pianist and began her literary career with the novel A Romance of Two Worlds (1886). A favorite writer of Winston Churchill and the British Royal Family, Corelli was the most popular author of her generation. Known for her interest in mysticism and the occult, she earned a reputation through works of fantasy, Gothic, and science fiction. From 1901 to 1924, she lived in Stratford-upon-Avon, where she continued to write novels, short story collections, and works of non-fiction. Corelli, whose works have been regularly adapted for film and the theater, was largely rejected by the male-dominated literary establishment of her time. Despite this, she is remembered today as a pioneering author who wrote for the public, not for the critics who sought to deny her talent.