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Books : Literature & Fiction : Authors, A-Z : ( D ) : De Quincey, Thomas
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In this remarkable autobiography, Thomas De Quincey hauntingly describes the surreal visions and hallucinatory nocturnal wanderings he took through London-and the nightmares, despair, and paranoia to which he became prey-under the influence of the then-legal painkiller laudanum. Forging a link between artistic self-expression and addiction, Confessions seamlessly weaves the effects of drugs and the nature of dreams, memory, and imagination. First published in 1821, it paved the way for later generations of literary drug users, from Baudelaire to Burroughs, and anticipated psychoanalysis with its insights into the subconscious.
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This selection of De Quincey's writings includes the title piece--his most famous work--as well as "On the Knocking at the Gate in Macbeth," "The English Mail-Coach," and the Suspiria de Profundis.
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Impressive account — admired for its introspective penetration and journalistic astuteness — of author's early years as a precocious student of Greek and Latin, his adventures among the outcasts and prostitutes of London, studies at Oxford University, introduction to opium in 1804 and his longterm involvement with the drug.
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The titular essay in this volume of work by Thomas De Quincey centers on the notorious career of the murderer John Williams, who in 1811 brutally killed seven people in London's East End. De Quincey's response to Williams's attacks turns morality on its head, celebrating and coolly dissecting the art of murder and its perfections. This volume also contains De Quincey's best-known piece of literary criticism, "On the Knocking at the Gate in Macbeth," and his finest tale of terror, "The Avenger," a disturbing exploration of violence, vigilantism, and religious persecution. Ranging from gruesomely vivid reportage and brilliantly funny satiric high jinks to penetrating literary and aesthetic criticism, these essays had a remarkable impact on crime, terror, and detective fiction. They are also a key contribution to the satiric tradition, as well as on the rise of nineteenth-century decadence. The bibliography is the most extensive available on critical responses to De Quincey's essays on murder and violence, and the essays included here have never been annotated so thoroughly before. They reveal--often for the first time--De Quincey's debts, remarkable erudition, and encyclopedic knowledge of contemporary crime.
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"I here present you, courteous reader, with the record of a remarkable period in my life: according to my application of it, I trust that it will prove not merely an interesting record, but in a considerable degree useful and instructive." So begins "The Confessions of an English Opium-Eater." Originally published in two parts in the "London Magazine" in 1821, it is a gripping account of one Englishman's addiction to opium. Thomas De Quincey details the effects of his opium use and in so doing warns the reader of the dangers and terrors of serious drug addiction.
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Londres. Principios del siglo XIX. Una sociedad de admiradores del asesinato, se reune cada vez que se produce un homicidio "interesante", para analizarlo, pero no desde un punto de vista juridico o moral, sino estetico. El asesinato sin compasion de toda un afamilia, sirve para que, mediante una novela, dos jovenes asesinos sean compadecidos e incluso admirados por los lectores.
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Many years ago, when studying the Aristotelian rhetoric at Oxford, it struck us that, by whatever name Aristotle might describe the main purpose of rhetoric, practically, at least, in his own treatment of it, he threw the whole stress upon finding such arguments for any given thesis as, without positively proving or disproving it, gave it a colorable support. We could not persuade ourselves that it was by accident that the topics, or general heads of argument, were never in an absolute and unconditional sense true.
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The Uncollected Writings of Thomas de Quincey Volume 1: With a Preface and Annotations by James Hogg
DE QUINCEY’S style is superb his powers of reasoning unsurpassed his imagination is warm and brilliant and his humour both masculine and delicate.
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With a Preface and Annotations by James Hogg
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This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.
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This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.
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Why callest thou me murderer, and not rather the wrath of God burning after the steps of the oppressor, and cleansing the earth when it is wet with blood?
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Thomas De Quincey (1785-1859) was an English author and intellectual, best known for his book Confessions of an English Opium-Eater (1822). In 1821, he went to London to dispose of some translations from German authors, but was persuaded first to write and publish an account of his opium experiences, which that year appeared in the London Magazine. This new sensation eclipsed Lamb's Essays of Elia, which were then appearing in the same periodical. He then made literary acquaintances. He maintained himself by contributing to various magazines. His other works include On the Knocking at the Gate in Macbeth (1823), Walladmor (1825), Murder Considered as One of the Fine Arts (1827), The Logic of the Political Economy (1844), Biographical Essays (1851), Autobiographical Sketches (1853), Romances and Extravaganzas (1877), and Collected Writings (1889).
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