Published anonymously in 1824, this gothic mystery novel was written by Scottish author James Hogg. The Private Memoirs and Confessions of a Justified Sinner was published as if it were the presentation of a century-old document. The unnamed editor offers the reader a long introduction before presenting the document written by the sinner himself.

In James Hogg's 'The Private Memoirs and Confessions of a Justified Sinner', the reader is taken on a haunting journey into the dark realms of human psychology and religious fanaticism. Written in a fragmented, multi-narrative style, the novel blurs the lines between reality and illusion, truth and fiction, making it a seminal work in the Gothic literary tradition. Hogg explores themes of duality, morality, and the nature of sin, challenging the reader to question the very foundations of good and evil. The book's intricate plot and unreliable narrators keep the reader on edge, creating a sense of unease that lingers long after the final page is turned. James Hogg, a Scottish author and poet, drew inspiration from his own religious background and the folklore of his native land to craft this complex and thought-provoking novel. His deep understanding of human nature and the complexities of the human psyche shine through in the intricate characterization and psychological depth of the book. I highly recommend 'The Private Memoirs and Confessions of a Justified Sinner' to readers who enjoy dark, atmospheric tales that delve into the depths of the human soul. Hogg's masterful storytelling and exploration of timeless themes make this Gothic classic a must-read for anyone interested in the darker side of human nature.

A critical success on both sides of the Atlantic, this darkly imaginative novel from Scottish author James Robertson takes a tantalizing trip into the spiritual by way of a haunting paranormal mystery. When Reverend Gideon Mack, a good minister despite his atheism, tumbles into a deep ravine called the Black Jaws, he is presumed dead. Three days later, however, he emerges bruised but alive-and insistent that his rescuer was Satan himself. Against the background of an incredulous world, Mack's disturbing odyssey and the tortuous life that led to it create a mesmerizing meditation on faith, mortality, and the power of the unknown.

Powers of Darkness is an incredible literary discovery: In 1900, Icelandic publisher and writer Valdimar à?smundsson set out to translate Bram Stoker’s world-famous 1897 novel Dracula. Called Makt Myrkranna (literally, “Powers of Darkness†?), this Icelandic edition included an original preface written by Stoker himself. Makt Myrkranna was published in Iceland in 1901 but remained undiscovered outside of the country until 1986, when Dracula scholarship was astonished by the discovery of Stoker’s preface to the book. However, no one looked beyond the preface and deeper into à?smundsson’s story.In 2014, literary researcher Hans de Roos dove into the full text of Makt Myrkranna, only to discover that à?smundsson hadn’t merely translated Dracula but had penned an entirely new version of the story, with all new characters and a totally re-worked plot. The resulting narrative is one that is shorter, punchier, more erotic, and perhaps even more suspenseful than Stoker’s Dracula. Incredibly, Makt Myrkranna has never been translated or even read outside of Iceland until now.Powers of Darkness presents the first ever translation into English of Stoker and à?smundsson’s Makt Myrkranna. With marginal annotations by de Roos providing readers with fascinating historical, cultural, and literary context; a foreword by Dacre Stoker, Bram Stoker’s great-grandnephew and bestselling author; and an afterword by Dracula scholar John Edgar Browning, Powers of Darkness will amaze and entertain legions of fans of Gothic literature, horror, and vampire fiction.

Imagine being able to perfectly imitate the voice of any man, woman or child. That's the remarkable talent that the young Carwin discovers and cultivates in himself. For the most part, Carwin uses his skills for noble ends. Will he be tempted to talk his way into a life of crime? Read Memoirs of Carwin, the Biloquist to find out.

In Great Britain during the Romantic period, governmental and social structures were becoming more secular as religion was privatized and depoliticized. If the discretionary nature of religious practice permitted spiritual freedom and social differentiation, however, secular arrangements produced new anxieties. Unquiet Things investigates the social and political disorders that arise within modern secular cultures and their expression in works by Jane Austen, Horace Walpole, Samuel Taylor Coleridge, Lord Byron, and Percy Shelley among others. Emphasizing secularism rather than religion as its primary analytic category, Unquiet Things demonstrates that literary writing possesses a distinctive ability to register the discontent that characterizes the mood of secular modernity. Colin Jager places Romantic-era writers within the context of a longer series of transformations begun in the Reformation, and identifies three ways in which romanticism and secularism interact: the melancholic mood brought on by movements of reform, the minoritizing capacity of literature to measure the disturbances produced by new arrangements of state power, and a prospective romantic thinking Jager calls "after the secular." The poems, novels, and letters of the romantic period reveal uneasy traces of the spiritual past, haunted by elements that trouble secular politics; at the same time, they imagine new and more equitable possibilities for the future. In the twenty-first century, Jager contends, we are still living within the terms of the romantic response to secularism, when literature and philosophy first took account of the consequences of modernity.

The novel traces Robert Wringhim's gradual decline into despair and madness, as his doubts about the righteousness of his cause are counteracted by what appears to be the Devil himself, who is increasing domination over his life. Finally, Robert loses control over his own identity and start's committing murders. The action of the novel is located in a historically definable Scotland with accurately observed settings, and simultaneously implies a pseudo-Christian world of angels, devils, and demonic possession. Many of the events of the novel are narrated twice; first by the 'editor', who gives his account of the facts as he understands them to be, and then in the words of the 'sinner' himself. Considered by turns part-gothic novel, part-psychological mystery, it can be thought of as an early example of modern crime fiction in which the story is told, for the most part, from the point of view of its criminal anti-hero. _x000D_ James Hogg (1770-1835) was a Scottish poet, novelist and essayist who wrote in both Scots and English. As a young man he worked as a shepherd and farmhand, and was largely self-educated through reading. He was a friend of many of the great writers of his day, including Sir Walter Scott, of whom he later wrote an unauthorized biography. _x000D_

First published in 1985, Between Men was a decisive intervention in gender studies, a book that all but singlehandedly dislodged a tradition of literary critique that suppressed queer subjects and subjectivities. With stunning foresight and conceptual power, Eve Kosofsky Sedgwick's work opened not only literature but also politics, society, and culture to broader investigations of power, sex, and desire, and to new possibilities of critical agency. Illuminating with uncanny prescience Western society's evolving debates on gender and sexuality, Between Men still has much to teach us. With a new foreword by Wayne Koestenbaum emphasizing the work's ongoing relevance, Between Men engages with Shakespeare's Sonnets, Wycherley's The Country Wife, Sterne's A Sentimental Journey Through France and Italy, Hogg's The Private Memoirs and Confessions of a Justified Sinner, Tennyson's The Princess, Eliot's Adam Bede, Thackeray's The History of Henry Esmond, Esq., and Dickens's Our Mutual Friend and The Mystery of Edwin Drood, among many other texts. Its pathbreaking analysis of homosocial desire in Western literature remains vital to the future of queer studies and to explorations of the social transformations in which it participates.