Luckhurst, Roger, ed. Science Fiction. Lovecraft, vii—xxviii. Lovecraft Resurgent. Fortean Times , August. American Weird. Gerry Canavan and Eric Carl Link, — Cambridge: Cambridge University Press.
Textual Practice 31 6 : — Lynch, Eve M. In The Victorian Supernatural , ed. MacCulloch, J. Stevenson: Westminster Review , June. Machen, Arthur. Far Off Things. London: Martin Secker. Mendlesohn, Farah. Rhetorics of Fantasy. Long Live the New Weird. The Third Alternative 3. James and the Quantum Vampire. Weird Fiction. Butler, and Sherryl Vint, — Miller, Thomas. The Gray Old Ash Tree. New Monthly Magazine , July. Book Review.
Spaces and Fictions of the Weird and the Fantastic
Nesbit, Edith. Man-Size in Marble. In Grim Tales , — London: A. New Monthly Magazine. New Quarterly Review. Retrospect of the Literature of the Quarter. Noys, Benjamin, and Timothy S. Introduction: Old and New Weird.
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Genre 49 2 : — Philmus, Robert M. Wells as Literary Critic for the Saturday Review. Science Fiction Studies 4 2 : — Rabinowitz, Paula.
New York: Columbia University Press. Review of Reviews. The Weird in Fiction. Reynolds, George W. Rieder, John. Rucker, Lynda E. In A Suggestion of Ghosts , ed. Johnny Mains, 11— Kent: Black Shuck Books. Saturday Review. Minor Notices. January Scott, Sir Walter. The Bridal of Triermain. Edinburgh: Ballantyne. Minstrelsy of the Scottish Border. London: Blackwood. Scottish Review. Novels, Novel Readers, and Novel Writers. Sharp, William.
New Novels. Academy , August New Monthly Magazine , April. Smith, Clark Ashton. Fantasy Fan , January. The Seven Geases. Weird Tales , October. Smith, Andrew. Manchester: Manchester University Press. Speake, Jennifer, ed. A Dictionary of Philosophy. London: Pan. Stableford, Brian. The Cosmic Horror.
Editorial: GRIN Verlag
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Stoker, Bram. Kate Hebblethwaite. Temple Bar. Thacker, Eugene. Winchester: Zero Books. Meditations on the Weird. Accessed 26 Jan Todorov, Tsvetan. Investigating cosmic themes and symbols common to all great poets regardless of age, but particularly in sync with the classical practitioners of disciplined rhyme and meter, Sterling busied himself studying life, death, love, hatred, alienation, and the loneliness of space - both physical and that which is in men's hearts perhaps another similarity he shared with Lovecraft.
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One might be persuaded to believe that Sterling simply saw his "star" poems as illuminating simply another branch of life and the cosmos with little of the strange or inexplicable involved. Including "My Swansong," a piece found after his death which certainly prefigures in its contents and feeling his coming suicide, an Appreciation by Clark Ashton smith, notes, an introduction, and critical comments were applicable, this collection of Sterling's poetry serves to show the versatility and range of imagination that the poet could employ, allowing his imagination to run free, even as he guided such within the strict confines of traditional structure..
The subject matter of the poems range from cosmic contemplation and fancy to frank depictions of sex in a time when that was still largely unheard of, all the while adhering to a classical obedience to the lofty aims and rules of ancient poetic expression, believing, like Lovecraft, and later, Clark Ashton Smith, that poetry's major purpose was to ignore the petty dictates of current social and political vogues for the exploration and appreciation of beauty and the sublime. The poems themselves are arranged here thematically for ease of enjoyment and reference, including "Cosmic," "Weird Realms," "Philosophical," "Fantastic Creatures," "Erotic love," "Dreams," and "Horrific Imagery.
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