The Third Age (Democratic) of Harold Blooms Canon (Part 6)
Explore Harold Bloom's Democratic Canon Part 6, featuring Gothic classics, fairy tales, and Russian fiction like Dead Souls and Grimm's Fairy Tales.
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Bram Stoker's Dracula
by Jan Needle
After discovering the double identity of the wealthy Transylvanian nobleman, Count Dracula, a small group of people vow to rid the world of the evil vampire.
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The Tales of Hoffmann
by Ernst Theodor Hoffman
A lawyer by day and a creator of a world of fantasy by night, Hoffman (1776-1822) lived a Jekyll and Hyde existence. Many of the characters in his stories are subject to a similar split personality. The duality of his nature is frequently reflected in some of his characters—Cardillac the goldsmith in Mademoiselle de Scudéry and Nathaniel in The Sandman, for example. Cardillac is a virtuous, industrious man by day but a violent criminal at night, while Nathaniel, obsessed by a childhood fantasy, is driven to madness and cruelty. These tales can be read on several levels: as an expression of the concerns of the Romantic era, as impressive examples of German Romantic literature and as exciting works of fiction made all the more extraordinary by their concern with the supernatural and the bizarre.
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The Devil's Elixirs
by E. T. A. Hoffmann
The charismatic monk Medardus becomes implicated in a deadly mystery against his will. As he travels towards Rome he wrestles with the enigma of his own identity while pursued by his murderous doppelganger. The monk's only hope for salvation lies with the beautiful Aurelie; but in order to escape the curse which lies over his family, he must evade the sinister powers of the living and the dead. In this lively and disturbing gothic tale, Hoffmann combines elements of the fantastic and the sublime to analyse the seductive ambiguities of art and the deeply divided nature of the human imagination.
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Danton's Death, Leonce and Lena, Woyzeck (Oxford World's Classics)
by Büchner, Georg
No summary available.
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Dead Souls
by Nikolai Gogol
Since its publication in 1842, Dead Souls has been celebrated as a supremely realistic portrait of provincial Russian life and as a splendidly exaggerated tale; as a paean to the Russian spirit and as a remorseless satire of imperial Russian venality, vulgarity, and pomp. As Gogol's wily antihero, Chichikov, combs the back country wheeling and dealing for "dead souls"--deceased serfs who still represent money to anyone sharp enough to trade in them--we are introduced to a Dickensian cast of peasants, landowners, and conniving petty officials, few of whom can resist the seductive illogic of Chichikov's proposition. This lively, idiomatic English version by the award-winning translators Richard Pevear and Larissa Volokhonsky makes accessible the full extent of the novel's lyricism, sulphurous humor, and delight in human oddity and error.
