This book begins with the assumption that the presence of non-human creatures causes an always-already uncanny rift in human assumptions about reality. Exploring the dark side of animal nature and the 'otherness' of animals as viewed by humans, and employing cutting-edge theory on non-human animals, eco-criticism, literary and cultural theory, this book takes the Gothic genre into new territory. After the dissemination of Darwin's theories of evolution, nineteenth-century fiction quickly picked up on the idea of the 'animal within'. Here, the fear explored was of an unruly, defiant, degenerate and entirely amoral animality lying (mostly) dormant within all of us. However, non-humans and humans have other sorts of encounters, too, and even before Darwin, humans have often had an uneasy relationship with animals, which, as Donna Haraway puts it, have a way of 'looking back' at us. In this book, the focus is not on the 'animal within' but rather on the animal 'with-out': other and entirely incomprehensible.

E Nesbit was one of the great British Edwardian storytellers, whom we now remember most for her children’s novels. But she wrote ghost stories prolifically for adults, her imagination focused on the detail of the domestic to draw out horror, chills and delight. Revel in the dark side of Victorian and Edwardian England, where visiting a house of strangers becomes a trial of nerve, and rediscovering the past leads you into strange and terrifying places. Melissa Edmundson, a noted authority on supernatural writing from this period and the curator of Women’s Weird and Women’s Weird 2, has selected the best of E Nesbit’s short scary fiction for this new Handheld Classic.

Following the success of Handheld Press's 2019 best-selling anthology Women's Weird, we will be publishing a second anthology of classic Weird short fiction by women authors. To be published alongside James Machin's anthology of classic British Weird fiction, British Weird, Women's Weird 2 will contain thirteen remarkably chilling stories originally published from 1891 to 1937, by women authors from the USA, Canada, the UK, India and Australia. Featured stories will include: Lettice Galbraith's 'The Blue Room' (1897) Barbara Baynton's 'A Dreamer' (1902) Katherine Mansfield's 'The House' (1912) Bithia Mary Croker's 'The Red Bungalow' (1919) Marjorie Bowen's 'Florence Flannery' (1924) L M Montgomery's 'The House Party at Smoky Island' (1934) Stella Gibbons' 'Roaring Tower' (1937) Melissa Edmundson's introduction will explore how the evolving Weird tradition was interpreted using colonial settings, and focus on how Weird fitted naturally into the careers of writers like Montgomery (Anne of Green Gables) and Gibbons (Cold Comfort Farm) who were not normally considered exponents of supernatural fiction.

The CW's long-running series Supernatural follows the adventures of brothers Sam and Dean Winchester as they pursue the "family business" of hunting supernatural beings. Blending monster-of-the-week storylines with the unfolding saga of the brothers' often troubled relationship, the show represents Gothic concerns of anxiety, the monstrous, family trauma and, of course, the supernatural. The lines between human and monster, good and evil, are blurred and individual identities and motivations resist easy categorization. This collection of new essays examines how the series both incorporates and complicates Gothic elements related to traditional tropes, storytelling, women and gender issues and monstrosity.

Early Weird fiction embraces the supernatural, horror, science fiction, fantasy and the Gothic, and was explored with enthusiasm by many women writers in the United Kingdom and in the USA. Melissa Edmundson has brought together a compelling collection of the best Weird short stories by women from the late nineteenth and early twentieth centuries, to thrill new readers and delight these authors' fans. The thirteen authors include: Charlotte Perkins Gilman, author of `The Yellow Wallpaper', with her story of a haunted New England house, `The Giant Wistaria' (1891). Margaret Oliphant's delicate story of ghostly possession, `The Library Window' (1897). Edith Nesbit's `The Shadow' (1910) about the peril of telling a ghost story after a ball. Edith Wharton's alarming story of Breton dogs and a jealous husband, `Kerfol' (1916). May Sinclair's `Where Their Fire Is Not Quenched' (1927), a story of a love that will never die. Mary Butts' `With and Without Buttons' (1938), a story of very haunted gloves. D K Broster's unholy story of a mistress's feathery revenge, `Crouching At The Door' (1942).

D K Broster was one of the great British historical novelists of the twentieth century, but her Weird fiction has long been forgotten. She wrote some of the most impressive supernatural short stories to be published between the wars. Melissa Edmundson, editor of Women's Weird, Women's Weird 2, Elinor Mordaunt's The Villa and The Vortex and Helen Simpson's The Outcast and The Rite, all published by Handheld, has curated a selection of Broster's best and most terrifying work. From the Abyss contains eleven stories, including: 'The Window', in which a deserted chateau takes revenge on anyone who opens one particular window. 'The Pavement', in which the protectress of a Roman mosaic cannot bear to let it go. 'Clairvoyance', in which the spirit of a vengeful Japanese swordmaster enters an adolescent girl. 'From the Abyss', in which the survivor of a car crash is followed out of the gorge by her doppelganger.

This book begins with the assumption that the presence of non-human creatures causes an always-already uncanny rift in human assumptions about reality. Exploring the dark side of animal nature and the 'otherness' of animals as viewed by humans, and employing cutting-edge theory on non-human animals, eco-criticism, literary and cultural theory, this book takes the Gothic genre into new territory. After the dissemination of Darwin's theories of evolution, nineteenth-century fiction quickly picked up on the idea of the 'animal within'. Here, the fear explored was of an unruly, defiant, degenerate and entirely amoral animality lying (mostly) dormant within all of us. However, non-humans and humans have other sorts of encounters, too, and even before Darwin, humans have often had an uneasy relationship with animals, which, as Donna Haraway puts it, have a way of 'looking back' at us. In this book, the focus is not on the 'animal within' but rather on the animal 'with-out': other and entirely incomprehensible.

This book explores women writers' involvement with the Gothic. The author sheds new light on women's experience, a viewpoint that remains largely absent from male-authored Colonial Gothic works. The book investigates how women writers appropriated the Gothic genre-and its emphasis on fear, isolation, troubled identity, racial otherness, and sexual deviancy-in order to take these anxieties into the farthest realms of the British Empire. The chapters show how Gothic themes told from a woman's perspective emerge in unique ways when set in the different colonial regions that comprise the scope of this book: Canada, the Caribbean, Africa, India, Australia, and New Zealand. Edmundson argues that women's Colonial Gothic writing tends to be more critical of imperialism, and thereby more subversive, than that of their male counterparts. This book will be of interest to students and academics interested in women's writing, the Gothic, and colonial studies.

This book explores women writers' involvement with the Gothic. The author sheds new light on women's experience, a viewpoint that remains largely absent from male-authored Colonial Gothic works. The book investigates how women writers appropriated the Gothic genre-and its emphasis on fear, isolation, troubled identity, racial otherness, and sexual deviancy-in order to take these anxieties into the farthest realms of the British Empire. The chapters show how Gothic themes told from a woman's perspective emerge in unique ways when set in the different colonial regions that comprise the scope of this book: Canada, the Caribbean, Africa, India, Australia, and New Zealand. Edmundson argues that women's Colonial Gothic writing tends to be more critical of imperialism, and thereby more subversive, than that of their male counterparts. This book will be of interest to students and academics interested in women's writing, the Gothic, and colonial studies.

Dinah Mulock Craik's The Half-Caste concerns the coming-of-age of its title character, the mixed-race Zillah Le Poer, daughter of an English merchant and an Indian princess. Sent back to England as a young girl, Zillah has no knowledge that she is an heiress. She lives with her uncle Le Poer, his wife, and two daughters, and is treated as little more than a servant in the household. Zillah's situation is gradually improved when Cassandra Pryor is employed as a governess to the Le Poer daughters and takes an interest in the mysterious ""cousin."" Craik explores issues of gender, race, and empire in the Victorian period in this compact and gripping novella. Along with a newly-annotated text, this Broadview edition includes a critical introduction that discusses Craik's involvement with contemporary racial and imperialist attitudes, her place within the broader genre of Anglo-Indian fiction, and the importance of Zillah Le Poer as a positive symbol of empire. The edition is also enriched with relevant contemporary contextual material, including Dinah Mulock Craik's writing on gender and female employment, British views on the biracial Eurasian community in India, and writings on the Victorian governess.

Originally published in 1901, 'East of Suez' was Alice Perrin's first collection of short stories. Her fascinating and thought-provoking tales of Anglo-Indian life rival the best work of Kipling, and were hugely successful in their day. Perrin tells stories of illicit love against a beautifully-drawn backdrop of the mystical east, interweaving the supernatural with exquisite details of her characters' lives. This scholarly edition includes: a critical introduction; author biography; suggestions for further reading; explanatory notes; contextual material on representations of the British Raj; illustrations from 'The Illustrated London News' and 'The Windsor Magazine'.