Valancourt classics

This scholarly edition of Florence Marryat's 1897 novel includes a critical introduction by Greta Depledge, suggestions for further reading, explanatory notes and contextual material on female sexuality, hysteria, race, eugenics, and the occult.

Adventures in Africa lead to a lost race, and the monster they worship.

Mr. Button was seated on a sea-chest with a fiddle under his left ear. He was playing the "Shan van vaught," and accompanying the tune, punctuating it, with blows of his left heel on the fo'cs'le deck. "O the Frinch are in the bay, Says the Shan van vaught." He was dressed in dungaree trousers, a striped shirt, and a jacket baize - green in parts from the influence of sun and salt. A typical old shell-back, round-shouldered, hooked of finger; a figure with strong hints of a crab about it. His face was like a moon, seen red through tropical mists; and as he played it wore an expression of strained attention as though the fiddle were telling him tales much more marvellous than the old bald statement about Bantry Bay. "Left-handed Pat," was his fo'cs'le name; not because he was left-handed, but simply because everything he did he did wrong - or nearly so. Reefing or furling, or handling a slush tub - if a mistake was to be made, he made it. He was a Celt, and all the salt seas that had flowed between him and Connaught these forty years and more had not washed the Celtic element from his blood, nor the belief in fairies from his soul. The Celtic nature is a fast dye, and Mr. Button's nature was such that though he had been shanghaied by Larry Marr in 'Frisco, though he had got drunk in most ports of the world, though he had sailed with Yankee captains and been man-handled by Yankee mates, he still carried his fairies about with him - they, and a very large stock of original innocence.

"The Beetle (1897) tells the story of a fantastical creature, "born of neither god nor man," with supernatural and fantastic powers, who stalks British politician Paul Lessingham through fin de siecle London in search of vengeance for the defilement of a sacred tomb in Egypt. In imitation of various popular fiction genres of the late nineteenth century, Marsh unfolds a tale of terror, late imperial fears, and the "return of the repressed," through which the crisis of late imperial Englishness is revealed." "This Broadview edition includes a critical introduction and a rich selection of historical documents that situate the novel within the contexts of fin de siecle London, England's interest and involvement in Egypt, the emergence of the New Woman, and contemporary theories of mesmerism and animal magnetism."--BOOK JACKET.