By D. Downey
This e-book exhibits simply how heavily overdue nineteenth-century American women's ghost tales engaged with items similar to pictures, mourning paraphernalia, wallpaper and humble household furnishings. that includes uncanny stories from the massive urban to the small city and the empty prairie, it deals a brand new viewpoint on an previous style.
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Extra info for American Women’s Ghost Stories in the Gilded Age
6 In doing so, he veered away from the sociocultural implications of the proximity of heimlich and unheimlich, which suggests that the idea of ‘home’ carries within it a sense of fear, alienation and darkness. 7 As outlined above, taking their cue from Freud, literary critics such as Leslie Fiedler, Irving Malin, Benjamin Franklin Fisher, and Allan Gardner Lloyd-Smith read through and past the haunted or malevolent house as a house. The prevailing critical tendency has been to see the gothic and horror genres, particularly in America, as having abandoned the obvious and somewhat tawdry locale of the haunted ancestral castle at some point around the middle of the nineteenth century.
Her ability to continue narrating beyond the expiration of her physical form suggests that she has succeeded in evading Rose’s violently reifying artistic gaze, escaping her loveless marriage by dying and gleefully haunting the house that is no longer hers, thus ending the gothic repetition that has doomed her ancestors to be cruel and miserable. While Wharton’s ‘Also His Wife’ remains incarcerated as a lifeless portrait surrounded by beautiful objects, Yone here seems to have established a more intimate relationship with the things in her home than she has in life.
Aura lives under the shadow of his curse upon her, fixed within the limits of a memory from which she cannot escape, to the point where she feels compelled to furnish her room to match the picture exactly. The story implies that when she, like the fiancée, hangs herself, the artist’s curse has been transmitted through the painting, her own life and death duplicating the horrors of the past. 55 This sense of echoing repetitions is extended in Lurana W. Sheldon’s ‘A Premonition’ (1896), which focuses on a young wife’s discovery that her new husband has been poisoning his wives in order to create powerful paintings of the moment between life and death.
American Women’s Ghost Stories in the Gilded Age by D. Downey