Other editions of book Uncle Silas

Uncle Silas, subtitled "A Tale of Bartram-Haugh", is a Victorian Gothic mystery-thriller novel by the Irish writer J. Sheridan Le Fanu. Despite Le Fanu resisting its classification as such, the novel has also been hailed as a work of sensation fiction by contemporary reviewers and modern critics alike. It is an early example of the locked-room mystery subgenre, rather than a novel of the supernatural (despite a few creepily ambiguous touches), but does show a strong interest in the occult and in the ideas of Emanuel Swedenborg, a Swedish scientist, philosopher and Christian mystic.

Excerpt from Uncle Silas: A Tale of Bartram-Haugh I don't know that She had any better foundation than analogy and conjecture for charging my father with supernatural preten sions; and in all points when her orthodoxy was not concerned, She loved her master and was a loyal housekeeper. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

In Uncle Silas, Sheridan Le Fanu’s most celebrated novel, Maud Ruthyn, the young, naïve heroine, is plagued by Madame de la Rougierre from the moment the enigmatic older woman is hired as her governess. A liar, bully, and spy, when Madame leaves the house, she takes her dark secret with her. But when Maud is orphaned, she is sent to live with her Uncle Silas, her father’s mysterious brother and a man with a scandalous-even murderous-past. And, once again, she encounters Madame, whose sinister role in Maud’s destiny becomes all too clear. With its subversion of reality and illusion, and its exploration of fear through the use of mystery and the supernatural, Uncle Silas shuns the conventions of traditional horror and delivers a chilling psychological thriller.It was winter—that is, about the second week in November—and great gusts were rattling at the windows, and wailing and thundering among our tall trees and ivied chimneys—a very dark night, and a very cheerful fire blazing, a pleasant mixture of good round coal and spluttering dry wood, in a genuine old fireplace, in a sombre old room. Black wainscoting glimmered up to the ceiling, in small ebony panels; a cheerful clump of wax candles on the tea–table; many old portraits, some grim and pale, others pretty, and some very graceful and charming, hanging from the walls. Few pictures, except portraits long and short, were there. On the whole, I think you would have taken the room for our parlour.

Leather Binding on Spine and Corners with Golden Leaf Printing on round Spine (extra customization on request like complete leather, Golden Screen printing in Front, Color Leather, Colored book etc.) Reprinted in 2019 with the help of original edition published long back [1893]. This book is printed in black & white, sewing binding for longer life, Printed on high quality Paper, re-sized as per Current standards, professionally processed without changing its contents. As these are old books, we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set, then it is only single volume, if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Hope you will like it and give your comments and suggestions. Lang: - eng, Pages 482. EXTRA 10 DAYS APART FROM THE NORMAL SHIPPING PERIOD WILL BE REQUIRED FOR LEATHER BOUND BOOKS. COMPLETE LEATHER WILL COST YOU EXTRA US$ 25 APART FROM THE LEATHER BOUND BOOKS. {FOLIO EDITION IS ALSO AVAILABLE.}

Uncle Silas, subtitled "A Tale of Bartram-Haugh", is a Victorian Gothic mystery-thriller novel by the Irish writer J. Sheridan Le Fanu. Despite Le Fanu resisting its classification as such, the novel has also been hailed as a work of sensation fiction by contemporary reviewers and modern critics alike. It is an early example of the locked-room mystery subgenre, rather than a novel of the supernatural (despite a few creepily ambiguous touches), but does show a strong interest in the occult and in the ideas of Emanuel Swedenborg, a Swedish scientist, philosopher and Christian mystic.

Uncle Silas, subtitled "A Tale of Bartram-Haugh", is a Victorian Gothic mystery-thriller novel by the Irish writer J. Sheridan Le Fanu. Despite Le Fanu resisting its classification as such, the novel has also been hailed as a work of sensation fiction by contemporary reviewers and modern critics alike. It is an early example of the locked-room mystery subgenre, rather than a novel of the supernatural (despite a few creepily ambiguous touches), but does show a strong interest in the occult and in the ideas of Emanuel Swedenborg, a Swedish scientist, philosopher and Christian mystic.

Uncle Silas, subtitled "A Tale of Bartram-Haugh", is a Victorian Gothic mystery-thriller novel by the Irish writer J. Sheridan Le Fanu. Despite Le Fanu resisting its classification as such, the novel has also been hailed as a work of sensation fiction by contemporary reviewers and modern critics alike. It is an early example of the locked-room mystery subgenre, rather than a novel of the supernatural (despite a few creepily ambiguous touches), but does show a strong interest in the occult and in the ideas of Emanuel Swedenborg, a Swedish scientist, philosopher and Christian mystic.

"The writer of this Tale ventures, in his own person, to address a very few words, chiefly of explanation, to his readers. A leading situation in this 'Story of Bartram-Haugh' is repeated, with a slight variation, from a short magazine tale of some fifteen pages written by him, and published long ago in a periodical under the title of 'A Passage in the Secret History of an Irish Countess,' and afterwards, still anonymously, in a small volume under an altered title. It is very unlikely that any of his readers should have encountered, and still more so that they should remember, this trifle. The bare possibility, however, he has ventured to anticipate by this brief explanation, lest he should be charged with plagiarism—always a disrespect to a reader.May he be permitted a few words also of remonstrance against the promiscuous application of the term 'sensation' to that large school of fiction which transgresses no one of those canons of construction and morality which, in producing the unapproachable 'Waverley Novels,' their great author imposed upon himself? No one, it is assumed, would describe Sir Walter Scott's romances as 'sensation novels;' yet in that marvellous series there is not a single tale in which death, crime, and, in some form, mystery, have not a place."

In Uncle Silas, Sheridan Le Fanu’s most celebrated novel, Maud Ruthyn, the young, naïve heroine, is plagued by Madame de la Rougierre from the moment the enigmatic older woman is hired as her governess. A liar, bully, and spy, when Madame leaves the house, she takes her dark secret with her. But when Maud is orphaned, she is sent to live with her Uncle Silas, her father’s mysterious brother and a man with a scandalous-even murderous-past. And, once again, she encounters Madame, whose sinister role in Maud’s destiny becomes all too clear. With its subversion of reality and illusion, and its exploration of fear through the use of mystery and the supernatural, Uncle Silas shuns the conventions of traditional horror and delivers a chilling psychological thriller.It was winter—that is, about the second week in November—and great gusts were rattling at the windows, and wailing and thundering among our tall trees and ivied chimneys—a very dark night, and a very cheerful fire blazing, a pleasant mixture of good round coal and spluttering dry wood, in a genuine old fireplace, in a sombre old room. Black wainscoting glimmered up to the ceiling, in small ebony panels; a cheerful clump of wax candles on the tea–table; many old portraits, some grim and pale, others pretty, and some very graceful and charming, hanging from the walls.

Uncle Silas, subtitled "A Tale of Bartram-Haugh", is a Victorian Gothic mystery-thriller novel by the Irish writer J. Sheridan Le Fanu. Despite Le Fanu resisting its classification as such, the novel has also been hailed as a work of sensation fiction by contemporary reviewers and modern critics alike. It is an early example of the locked-room mystery subgenre, rather than a novel of the supernatural (despite a few creepily ambiguous touches), but does show a strong interest in the occult and in the ideas of Emanuel Swedenborg, a Swedish scientist, philosopher and Christian mystic.

In Uncle Silas, Sheridan Le Fanu’s most celebrated novel, Maud Ruthyn, the young, naïve heroine, is plagued by Madame de la Rougierre from the moment the enigmatic older woman is hired as her governess. A liar, bully, and spy, when Madame leaves the house, she takes her dark secret with her. But when Maud is orphaned, she is sent to live with her Uncle Silas, her father’s mysterious brother and a man with a scandalous-even murderous-past. And, once again, she encounters Madame, whose sinister role in Maud’s destiny becomes all too clear. With its subversion of reality and illusion, and its exploration of fear through the use of mystery and the supernatural, Uncle Silas shuns the conventions of traditional horror and delivers a chilling psychological thriller.It was winter–that is, about the second week in November–and great gusts were rattling at the windows, and wailing and thundering among our tall trees and ivied chimneys–a very dark night, and a very cheerful fire blazing, a pleasant mixture of good round coal and spluttering dry wood, in a genuine old fireplace, in a sombre old room. Black wainscoting glimmered up to the ceiling, in small ebony panels; a cheerful clump of wax candles on the tea-table; many old portraits, some grim and pale, others pretty, and some very graceful and charming, hanging from the walls. Few pictures, except portraits long and short, were there. On the whole, I think you would have taken the room for our parlour. It was not like our modern notion of a drawing-room. It was a long room too, and every way capacious, but irregularly shaped.A girl, of a little more than seventeen, looking, I believe, younger still; slight and rather tall, with a great deal of golden hair, dark grey-eyed, and with a countenance rather sensitive and melancholy, was sitting at the tea-table, in a reverie. I was that girl. The only other person in the room–the only person in the house related to me–was my father. He was Mr. Ruthyn, of Knowl, so called in his county, but he had many other places, was of a very ancient lineage, who had refused a baronetage often, and it was said even a viscounty, being of a proud and defiant spirit, and thinking themselves higher in station and purer of blood than two-thirds of the nobility into whose ranks, it was said, they had been invited to enter. Of all this family lore I knew but little and vaguely; only what is to be gathered from the fireside talk of old retainers in the nursery.I am sure my father loved me, and I know I loved him. With the sure instinct of childhood I apprehended his tenderness, although it was never expressed in common ways. But my father was an oddity. He had been early disappointed in Parliament, where it was his ambition to succeed. Though a clever man, he failed there, where very inferior men did extremely well. Then he went abroad, and became a connoisseur and a collector; took a part, on his return, in literary and scientific institutions, and also in the foundation and direction of some charities. But he tired of this mimic government, and gave himself up to a country life, not that of a sportsman, but rather of a student, staying sometimes at one of his places and sometimes at another, and living a secluded life. Rather late in life he married, and his beautiful young wife died, leaving me, their only child, to his care. This bereavement, I have been told, changed him–made him more odd and taciturn than ever, and his temper also, except to me, more severe. There was also some disgrace about his younger brother–my uncle Silas–which he felt bitterly.