M. G. Lewis

First volume in the Nrààk Confederation Series: Captain Mark Sterling and his team had been sent to investigate the ruins of a city on Dlàšú IV, a desert world circling a sickly K type star, a hundred plus light-years from Earth.They found a humanoid alien race called the Tïšè working in the mines of Dlàšú, but ignored their warning that they should leave the planet before they were discovered by their masters. The Nrààk ruled not only the Tïšè and Dlàšú, but dozens of alien races across a thousand worlds in the Galaxy. Mark and his team survived their capture by the Nrààk, but were dragged into the ongoing conflict between the Nrààk and their overlords, the Nàsúwårna. They might survive to return to Earth but only if they could help the Nrààk defeat the unseen Nàsúwårna.(Volume 2: Blood Red Petals Ankle Deep ----- Volume 3: Antique Ladies and Gray Malevolence)

An Orange Sherbet Sun in a Latte Sky

Monk

Excerpt from The Monk: A Romance Avaunt! and quit my sight! Let the earth hide thee! Thy bones are marrowless; thy blood is cold; Thou hast no speculation in those eyes Which thou dost glare with! Hence, horrible shadow! Unreal mockery, hence! Macbeth. My journey was uncommonly agreeable. I found the baron a man of some sense, but little knowledge of the world. He had passed a great part of his life without stirring beyond the precincts of his own domains, and consequently his manners were far from being the most polished; but he was hearty, good-humoured, and friendly. His attention to me was all that I could wish, and I had every reason to be satisfied with his behaviour. His ruling passion was hunting, which he had brought himself to consider as a serious occupation, and, when talking over some remarkable chace, he treated the subject with as much gravity as if it had been a battle oil which the fate of two kingdoms was depending. I happened to be a tolerable sportsman: soon after my arrival at Lindenberg, I gave some proofs of my dexterity. 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.

A Romance (Classic Reprint)

The Monk

Christopher Priest

Gerald Kersh

Michael McDowell

Michael Blumlein

Florence Marryat

Hugh Walpole

Richard Marsh

Stephen Gregory

Bernard Taylor

John Blackburn

Francis King

Mary Cholmondeley

Charles Birkin

John Trevena

Forrest Reid

Hugh Fleetwood

In this volume, you will encounter tales of ghosts, haunted houses, witchcraft, vampirism, lycanthropy, and sea monsters. Stories of cruelty and vengeance, of a body that refuses to be cremated, a deranged performer with one last shocking show, a frozen corpse that may not be dead. With stories ranging from frightening to horrific to weird to darkly funny, by a lineup of authors that includes both masters of horror fiction and award-winning literary greats, this is a horror anthology like no other. Spanning two hundred years of horror, this new collection features seventeen macabre gems, including two original tales and many others that have never or seldom been reprinted, by: Charles Birkin • John Blackburn • Michael Blumlein • Mary Cholmondeley • Hugh Fleetwood • Stephen Gregory • Gerald Kersh • Francis King • M. G. Lewis • Florence Marryat • Richard Marsh • Michael McDowell • Christopher Priest • Forrest Reid • Bernard Taylor • Hugh Walpole 'The things were there and they were hiding in the slime; waiting ... waiting to clutch and claw and savage’ - AUNTY GREEN by John Blackburn ‘The sound that came from her throat, a small, pleading cry of terror, was cut off before she’d hardly had a chance to utter it’ - OUT OF SORTS by Bernard Taylor ‘The words filled her with an indescribable fear, and she turned to run; but her way was blocked by a figure, gigantic in stature​ – and its monstrous shape moved towards her, and she knew it was the incarnation of evil itself ’ - THE TERROR ON TOBIT by Charles Birkin

The Valancourt Book of Horror Stories: Volume One

The Monk is a Gothic novel by Matthew Gregory Lewis, and published in 1796, before the author had turned twenty. It is a prime example of the male Gothic that specialises in the aspect of horror. Its convoluted and scandalous plot has made it one of the most important Gothic novels of its time, often imitated and adapted for the stage and the screen. The story starts in Madrid, when Leonella and her niece Antonia, is a timid and innocent girl of 15, visit a church to hear the sermon of a celebrated monk, Ambrosio, a monk about 30 years old. He was found left at the Abbey doorstep when he was too young to tell his tale. The monks consider him a present from the Virgin Mary and they educate him at the monastery. Ambrosio is approached by Antonia, who asks him to provide a confessor for Elvira, her dying mother, and the priest is immediately attracted to her. He prays for Elvira, who begins to improve. He agrees to come to visit them often and pray for Elvira, but his purpose is to be with Antonia and seduce her.

The Monk: A Romance is a Gothic novel by Matthew Gregory Lewis, published in 1796. A quickly written book from early in Lewis's career (in one letter he claimed to have written it in ten weeks, but other correspondence suggests that he had at least started it, or something similar, a couple of years earlier), it was published before he turned twenty. It is a prime example of the male Gothic that specialises in the aspect of horror. Its convoluted and scandalous plot has made it one of the most important Gothic novels of its time, often imitated and adapted for the stage and the screen. In the same month as the second edition was published, Samuel Taylor Coleridge wrote a piece in The Critical Review, an important literary magazine of the day, in which he both praises and harshly criticises the novel. He acknowledges that it is "the offspring of no common genius," that the "underplot... is skilfully and closely connected with the main story, and is subservient to its development," that the story Lewis weaves in about the bleeding nun is "truly terrific" and that he cannot recall a "bolder or more happy conception than that of the burning cross on the forehead of the wandering Jew." Coleridge gives his highest praise to the character of Matilda, who he believes is "the author's master-piece. It is, indeed, exquisitely imagined, and as exquisitely supported. The whole work is distinguished by the variety and impressiveness of its incidents; and the author everywhere discovers an imagination rich, powerful, and fervid. Such are the excellencies". Coleridge continues by saying that "the errors and defects are more numerous, and (we are sorry to add) of greater importance." Because "the order of nature may be changed whenever the author's purposes demand it" there are no surprises in the work. Moral truth cannot be gleaned because Ambrosio was destroyed by spiritual beings, and no earthly being can sufficiently oppose the "power and cunning of supernatural beings." Scenes of grotesquery and horror abound, which are a proof of "a low and vulgar taste." The character of Ambrosio is "impossible... contrary to nature." Coleridge argues that the most "grievous fault... for which no literary excellence can atone" is that "our author has contrived to make [tales of enchantments and witchcraft] ' 'pernicious' ', by blending, with an irreverent negligence, all that is most awfully true in religion with all that is most ridiculously absurd in superstition," commenting with the immortal line that "the Monk is a romance, which if a parent saw in the hands of a son or daughter, he might reasonably turn pale." Coleridge finishes the piece by explaining that he was "induced to pay particular attention to this work, from the unusual success which it has experienced" and that "the author is a man of rank and fortune. Yes! the author of the Monk signs himself a LEGISLATOR! We stare and tremble." Thomas James Mathias followed Coleridge's lead in The Pursuits of Literature, a poem in the 18th-Century satiric tradition, but takes a step farther than Coleridge by claiming that a specific passage made the novel indictable under law. The passage, found in Chapter Seven Volume II, discusses an interpretation of the Bible as too lewd for youth to read. These two major pieces led the way for a multitude of other attacks on the novel, from such sources as the Monthly Review, the Monthly Magazine, and the Scots Magazine; the last of these attacked the novel six years after its publication. It was a general trend amongst those who criticised, however, to offer praise of some aspect of the novel. "It looked," writes Parreaux, "as if every reviewer or critic of the book, no matter how hostile he was, felt compelled to at least pay lip-service to Lewis's genius." (wikipedia.org)

The Monk: A Romance

Scarcely had the Abbey Bell tolled for five minutes, and already was the Church of the Capuchins thronged with Auditors. Do not encourage the idea that the Crowd was assembled either from motives of piety or thirst of information. But very few were influenced by those reasons; and in a city where superstition reigns with such despotic sway as in Madrid, to seek for true devotion would be a fruitless attempt. The Audience now assembled in the Capuchin Church was collected by various causes, but all of them were foreign to the ostensible motive. The Women came to show themselves, the Men to see the Women: Some were attracted by curiosity to hear an Orator so celebrated; Some came because they had no better means of employing their time till the play began; Some, from being assured that it would be impossible to find places in the Church; and one half of Madrid was brought thither by expecting to meet the other half. The only persons truly anxious to hear the Preacher were a few antiquated devotees, and half a dozen rival Orators, determined to find fault with and ridicule the discourse. As to the remainder of the Audience, the Sermon might have been omitted altogether, certainly without their being disappointed, and very probably without their perceiving the omission.

in large print

The Monk: A Romance tells of the spectacular downfall of a Spanish monk. Ambroio lusts for the woman Matilda, who is disguised as a monk, but once he has had her he becomes infatuated with the innocent Antonia. This novel was the first to villainize a priest, and has all the trappings of the Gothic novel, including ruined castles, rape, incest, demonic contracts and the Spanish Inquisition. Lewis wrote the novel in ten weeks at the age of 19.

A Romance

This broad hint attracted the notice of two Cavaliers, who occupied stools on the right hand, and were leaning their backs against the seventh column from the Pulpit. Both were young, and richly habited. Hearing this appeal to their politeness pronounced in a female voice, they interrupted their conversation to look at the speaker. She had thrown up her veil in order to take a clearer look round the Cathedral. Her hair was red, and She squinted. The Cavaliers turned round, and renewed their conversation. 'By all means,' replied the old Woman's companion; 'By all means, Leonella, let us return home immediately; The heat is excessive, and I am terrified at such a crowd.' These words were pronounced in a tone of unexampled sweetness. The Cavaliers again broke off their discourse, but for this time they were not contented with looking up: Both started involuntarily from their seats, and turned themselves towards the Speaker. The voice came from a female, the delicacy and elegance of whose figure inspired the Youths with the most lively curiosity to view the face to which it belonged. This satisfaction was denied them. Her features were hidden by a thick veil; But struggling through the crowd had deranged it sufficiently to discover a neck which for symmetry and beauty might have vied with the Medicean Venus. It was of the most dazzling whiteness, and received additional charms from being shaded by the tresses of her long fair hair, which descended in ringlets to her waist. Her figure was rather below than above the middle size: It was light and airy as that of an Hamadryad. Her bosom was carefully veiled. Her dress was white; it was fastened by a blue sash, and just permitted to peep out from under it a little foot of the most delicate proportions. A chaplet of large grains hung upon her arm, and her face was covered with a veil of thick black gauze. Such was the female, to whom the youngest of the Cavaliers now offered his seat, while the other thought it necessary to pay the same attention to her companion.

Horror and Romance

The Monk: A Romance is a Gothic novel first published in 1796. It was a quickly written book from early in the author's career, and it was published before he turned twenty. It is a prime example of the male Gothic that specializes in the aspect of horror. Its convoluted and scandalous plot has made it one of the most important Gothic novels of its time, often imitated and adapted for the stage and the screen.

"Horror in literature attains a new malignity in the work of Matthew Gregory Lewis (1773-1818), whose novel The Monk (1796) achieved marvelous popularity and earned him the nickname 'Monk' Lewis. This young author, educated in Germany and saturated with a body of wild Teuton lore unknown to Mrs. Radcliffe, turned to terror in forms more violent than his gentle predecessor had ever dared to think of; and produced as a result a masterpiece of active nightmare whose general Gothic cast is spiced with added stores of ghoulishness. The story is one of a Spanish monk, Ambrosio, who from a state of over-proud virtue is tempted to the very nadir of evil by a fiend in the guise of the maiden Matilda. . . . The novel contains some appalling descriptions such as the incantation in the vaults beneath the convent cemetery, the burning of the convent, and the final end of the wretched abbot. In the sub-plot where the Marquis de las Cisternas meets the specter of his erring ancestress, The Bleeding Nun, there are many enormously potent strokes; notably the visit of the animated corpse to the Marquis's bedside, and the cabalistic ritual whereby the Wandering Jew helps him to fathom and banish his dead tormentor. . . ." -- H. P. Lovecraft, "Supernatural Horror In Literature"

Matthew Gregory Lewis, byname Monk Lewis (born July 9, 1775, London, Eng.-died May 14, 1818, at sea), English novelist and dramatist who became famous overnight after the sensational success of his Gothic novel The Monk (1796). Thereafter he was known as "Monk" Lewis. Educated at Westminster School and Christ Church, Oxford, Lewis served as attach to the British embassy at The Hague and was a member of Parliament from 1796 to 1802. In 1812 he inherited a fortune and large properties in Jamaica. Sincerely interested in the conditions of his 500 slaves, he made two West Indian voyages, contracted yellow fever on his return from the second, and died at sea. The Monk, written when Lewis was 19, was influenced by the leading Gothic novelist, Ann Radcliffe, and also by stronger contemporary German Gothic literature. Its emphasis on horror rather than romance, its violence, and its eroticism made it avidly read, though universally condemned. Its success was followed by a popular musical drama in the same vein, The Castle Spectre (performed 1797; published 1798), which was produced by the dramatist Richard Brinsley Sheridan. ... (Britannica)

M. G. Lewis

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