Fiction 2

The Opium-Eater: A Thomas De Quincey Story by David Morrell

By David Morrell

From bestselling mystery writer David Morrell comes a brooding Thomas De Quincey brief tale concerning the coldest of deaths and their heartbreaking aftermath.

Thomas De Quincey--the relevant personality of Morrell's acclaimed Victorian mysteries, Murder as a very good Art and Inspector of the Dead--was probably the most infamous and very good literary personalities of the 1800s. His notorious Confessions of an English Opium-Eater made background because the first publication approximately drug dependency. He invented the observe "subconscious" and expected Freud's psychoanalytic theories by means of greater than a part century. His blood-soaked essays and tales motivated Edgar Allan Poe, who in flip encouraged Sir Arthur Conan Doyle to create Sherlock Holmes.

yet on the middle of his literary luck lies a negative tragedy. during this special-edition novella, in response to real-life occasions, Morrell stocks De Quincey's tale of a terrible storm from snow during which a parents died and their six young ones have been trapped within the mountains of England's Lake District. much more gripping is what occurred after. This is the genuine story of the way Thomas De Quincey turned the Opium-Eater, delivered to lifestyles through award-winning storyteller David Morrell.

An afterword includes quite a few photos of the dramatic destinations within the tale.

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Extra info for The Opium-Eater: A Thomas De Quincey Story

Sample text

Pursuing a formulation of English, rather than British, national culture leads to the assertion that ‘Englishness’ is so completely imbricated in the enterprise of imperialism – historically, politically, rhetorically – as to be inseparable from it. Simply put, Englishness equals empire; that is, the version of Englishness at stake in the twentieth century, the Englishness then seen as having been dealt blows perhaps too heavy to sustain, is imperial Englishness. This ‘identity’ is a performative construct, a set of discursive effects mobilized and reiterated through the practices of national culture.

Simply put, Englishness equals empire; that is, the version of Englishness at stake in the twentieth century, the Englishness then seen as having been dealt blows perhaps too heavy to sustain, is imperial Englishness. This ‘identity’ is a performative construct, a set of discursive effects mobilized and reiterated through the practices of national culture. ’ The collective introjection of this lost object, and subsequent identification with it (that is, feeling ‘at home’ in Englishness), was rehearsed and maintained through the cultural practice of empire.

Is one of these identities more ‘natural’ or ‘real’ than the others? Does collective identification (with a national ideal, for instance) bear any resemblance to the early, parental identifications that shape gender identity? And what happens to a person’s group identity when he or she is a member of overlapping, or even competing, groups? ’ Much research has been dedicated to teasing apart the social roles of each of these component identities in the grand scheme of British life. A collection of essays like National Identities: The Constitution of the United Kingdom (Crick 1991), for instance, gathers critical perspectives from each of the individual nationalities in order to achieve a set of distinctions between the ‘English,’ ‘British,’ and ‘United Kingdom’ cultures (in addition to those component cultures already more distinct due to language, like Welsh and Irish).

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