By H. P. Lovecraft, Edgar Allan Poe, Bram Stoker, Henry James, Ambrose Bierce, Algernon Blackwood, Arthur Machen, Walter de la Mare, M. P. Shiel, R. W. Chambers
This new assortment gains the various maximum masters of maximum terror, between them Edgar Allan Poe, Ambrose Bierce, Bram Stoker, and Henry James, and contains such vintage works as Arthur Machen's "The White People," Algernon Blackwood's "The Willows," and naturally Lovecraft's personal bizarre and hideous "The color Out of Space."
• Edgar Allan Poe, "MS. present in a Bottle"
• Bram Stoker, "The Squaw"
• Ambrose Bierce, "Moxon's Master"
• Ambrose Bierce, "The Damned Thing"
• Ambrose Bierce, "An Inhabitant of Carcosa"
• R. W. Chambers, "The Repairer of Reputations"
• M. P. Shiel, "The apartment of Sounds"
• Arthur Machen, "The White People"
• Algernon Blackwood, "The Willows"
• Henry James, "The Jolly Corner"
• Walter de los angeles Mare, "Seaton's Aunt"
• H. P. Lovecraft, "The color Out of Space"
• A word at the choice via D. skinny
Read or Download Shadows of Carcosa: Tales of Cosmic Horror by Lovecraft, Chambers, Machen, Poe, and Other Masters of the Weird PDF
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Additional resources for Shadows of Carcosa: Tales of Cosmic Horror by Lovecraft, Chambers, Machen, Poe, and Other Masters of the Weird
Jamal and Latika can Jai Ho the triumph of love and of the nation after the nation has been globalized by integrating its domestic economy with the global one. In an India thus translated, Jamal is celebrated as a hero by the urban poor – whose pastime is not cricketing or rioting but getting hooked to reality TV shows broadcast in a global Hinglish (or “Engdi”) – because he has won his lady love via media a million rupees cash prize. After he answers the winning question correctly and steps out of the studio in a daze, a crowd of urban poor swoop on him and sweep him off the ground, Jai Ho-ing his dogged yet fortuitous arrival into a form of modernity whose framing parameters are largely economic.
It is not that Salim’s kind of pulp-patriotic machismo, bent on legitimizing Indian centrality, has not been heard before; for where the business of discursively constituting India as an exemplary nation is concerned, Bollywood is no stranger to idioms of hyperbole and melodrama. Regardless of whether Bollywood (mass) cultural productions have troped India as the chaste body of the eternal mother, whose innate virtuosity stands resplendent in contradistinction to a morally decadent West, or as the glittering “dot” on the forehead of the global bride, beautifying the world by its presence or, more recently, as a “shining” and “rising” geopolitical and economic entity in the THE EMERGING CENTRALITY OF INDIA 13 world, primed not only to exert hegemony over traditional regional rivals like Pakistan but also to aggressively outbid powerhouses like China and America as producers of global capital, they have routinely resorted to a rhetoric of bluster and sweeping sentimentality.
Simply put, even if one were to discount Salim’s patriotism as goofy rhetoric, one cannot help being seduced by the feeling that SDM casts a very twenty-first century gaze on a very twentyfirst century India, by presencing its distinctive brand of disparate modernity through an unflinching and a seemingly unfiltered eye. The India of SDM, in other words, is not the Othered/Orientalized and dehistoricized India one typically encounters through the lens of Hollywood. The film, one can argue, is an instance of a Western cultural mediation where the East is apparently represented on its own terms, in the sense of being represented ‘convivially’, and is in the process transformed from being an object to a subject of history.