検索キーワード： 著者 "Mary Wilkins" すべてのカテゴリー

Mary Wilkins Freeman (1852-1930) was an American writer, best known for her stories reflecting the world of women fighting for dignity and independence from men. Her tales typically describe domestic settings and intimate relationships and are told with sensitivity and a poignancy which illuminates a bygone era in vivid detail. "The Revolt of Mother" tells the story of a strong and self-reliant farm wife who defies her obstinate husband by moving her household into his newly built barn.

An excellent collection of creepy ghost stories from some of the most notable names of early horror fiction, including: “The Willows” by Algernon Blackwood, “The Shadows On The Wall” by Mary E. Wilkins Freeman, “The Messenger” by Robert W.Chambers, “Lazarus” by Leonid Andreyev, “The Beast With Five Fingers” by W.F. Harvey, “The Mass Of Shadows” by Anatole France, “What Was It” by Fitz-James O’brien, “The Middle Toe Of The Right Foot” by Ambrose Bierce, “The Shell Of Sense” by Olivia Howard Dunbar, and more!

Mary Wilkins Freeman's "The Southwest Chamber" and "Shadows on the Wall", Gertrude Atherton's "The Bell in the Fog", Charlotte Gilman's "The Yellow Wallpaper", Kate Chopin's "Her Letters", and Madalene Yale Wynne's "The Little Room" comprise this eerie collection.

This ghostly, sometimes ghastly, collection includes "The Buckled Bag" by Mary Roberts Rinehart, "The Tapestried Room" or "The Lady in the Saque" by Sir Walter Scott, "The New Catacomb" by Sir Arthur Conan Doyle, and "The Lost Ghost" by Mary Wilkins Freeman.

In this volume we examine Gothic short stories from the woman’s point of view. More usually in this genre the main examples are almost always given as male. Well, in this volume we prove that view needs severely testing. Here we explore works by classic women authors who, with the sheer breadth of their talents and narratives, can make mere men seem tame by comparison.

Short stories have always been a sort of instant access into an author’s brain, their soul and heart. They can lift our lives into locations, people and experiences with a sweep of landscape, narration, feelings and emotions that is difficult to achieve elsewhere. Human beings are, in the main, social animals, they like to gather, to herd together, to share experiences. But some do not. Either through choice or exclusion their way forward is difficult. In this volume our authors and their characters share their stories.

Americans have vivid, colourful and mesmerising imaginations. On the flip side they are equally adept at Realism. In this volume their famed authors explore short stories that bring us up close and personal to reality.

In a quaint New England village, the Glynn siblings gather to mourn the unexpected death of their brother Henry. As they convene in the dimly lit family home, old tensions and secrets begin to surface, intertwining with an unsettling presence that lurks within the house. The siblings soon discover eerie shadows cast upon the walls—shadows that seem to move of their own volition, whispering untold tales of the past. As the family grapples with their own guilt and grief, the mysterious shadows grow darker, revealing a truth more sinister than any of them could have imagined.

This century is crammed full of talents that showcase an enviable array of stories and genres. Across a hundred years the short story develops, becomes yet more emboldened, more accessible to a wider audience as these female authors challenge the literary bastions.

Como fiel reflejo de la sociedad en que se desarrolla, la literatura muestra los cambios y terrenos que ha ganado la mujer a lo largo de la historia. Aún queda mucho camino que recorrer pero Medea, Sherezade, Morella, Madame Bovary e, incluso, Lisbeth Salander han ayudado a defender y reivindicar los derechos de la mujer.

Embark on a journey through 19th-century New England with 'A New England Nun' by Mary E. Wilkins Freeman. This annotated edition unveils the nuanced layers of societal expectations and women's autonomy. Explore the symbolism of wild grapes, the metaphorical imagery of an uncloistered nun, and Joe Daggett's poignant honesty.

The ferry-boat was waiting when Rebecca Flint got off the train with her bag and lunch basket. When she and her small trunk were safely embarked she sat stiff and straight and calm in the ferry-boat as it shot swiftly and smoothly across stream. There was a horse attached to a light country wagon on board, and he pawed the deck uneasily. His owner stood near, with a wary eye upon him, although he was chewing, with as dully reflective an expression as a cow.