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The plague is spreading across Europe - a plague as vile and vicious as the plagues of the middle ages. It is a plague more virulent than any childhood disease: everyone will catch it; everyone who catches it will die. But this is no ordinary plague: it is the work of a sorcerer - a man of exactly the stripe as Boothby's infamous villain, Nikola. One man knows how it's spread. One man can stop it - if he can face Pharos, The Egyptian. If he dares, for the life of the world.
As was commonplace in the late nineteenth century, artist Cyril Forrester's father has brought back an ancient mummy as a grim souvenir of his travels in Egypt. But this mummy is not destined to stay put. A mysterious figure calling himself Pharos shows up to reclaim the relic -- and to unleash a deadly plague that will bring humanity to its knees.
What do tales of stalking vampires, restless Egyptian mummies, foreign master criminals, barbarian Eastern hordes and stomping Prussian soldiers have in common? As Gothic Invasions explains, they may all be seen as instances of invasion fiction, a paranoid fin-de-siècle popular literary phenomenon that responded to prevalent societal fears of the invasion of Britain by an array of hostile foreign forces in the period before the First World War. Gothic Invasions traces the roots of invasion anxiety to concerns about the downside of Britain’s continuing imperial expansion: fears of growing inter-European rivalry and colonial wars and rebellion. It explores how these fears circulated across the British empire and were expressed in fictional narratives drawing strongly upon and reciprocally transforming the conventions and themes of gothic writing. Gothic Invasions enhances our understanding of the interchange between popular culture and politics at this crucial historical juncture, and demonstrates the instrumentality of the ever-versatile and politically-charged gothic mode in this process.
Alexandria, Egypt: at one point a trading hub and a cosmopolitan crossroads of the world. It was also the place where, during World War I, E.M. Forster fell in love with a young Egyptian man. Pharos and Pharillon is a collection of essays and articles he wrote about Alexandria, mostly written during that time and dedicated to that man, Mohammed el Adl. Organized in two parts, the book opens with Pharos and seven stories that paint a poetic picture of the ancient city and its history. The second half, Pharillon, consists of four stories, followed by Forster’s moving introduction of the Greek poet C. P. Cavafy to the English-speaking world. The division in the book is signaled by Cavafy’s now famous poem, “The God Abandons Antony.” The sketches were written for the local Egyptian press and were also published in The Nation and Athenaeum, a British political newspaper owned by Leonard Woolf, husband of writer Virginia Woolf. The Woolfs published Pharos and Pharillon in 1923, and with its poignant accounts of the events and history of one of the first global cities, it remains an enlightening portrait, and a useful guidebook, into modern times.
Guy Newell Boothby (13 October 1867 - 26 February 1905) was a prolific Australian novelist and writer, noted for sensational fiction in variety magazines around the end of the nineteenth century. He lived mainly in England. He is best known for such works as the Dr Nikola series, about an occultist criminal mastermind who is a Victorian forerunner to Fu Manchu, and Pharos, the Egyptian, a tale of Gothic Egypt, mummies' curses and supernatural revenge. Rudyard Kipling was his friend and mentor, and his books were remembered with affection by George Orwell
Guy Newell Boothby, (1867-1905), was an Australian novelist and writer. In 1890 he wrote the libretto for a comic opera, Sylvia, which was published and produced at Adelaide in 1890. In 1894 he published On the Wallaby; or, Through the East and Across Australia, an account of the travels of himself and his brother, including a description of their journey across Australia from Cooktown to Adelaide. In the same year his first novel, In Strange Company was published in London and was quickly successful. He wrote over 50 books over the course of a decade. Some of his earlier works relate to stories of Australian life, but later he turned to genre fiction. He was once well known for his series of five novels about Doctor Nikola, an occultist anti-hero seeking immortality and world domination. His other works include: Dr. Nikola's Experiment (1899), A Bid for Fortune; or, Dr. Nikola's Vendetta (1895), The Duchess of Wiltshire's Diamonds (1897), Pharos the Egyptian (1899), A Sailor's Bride (1899), My Strangest Case (1901), and Connie Burt (1903).
Guy Newell Boothby, (1867-1905), was an Australian novelist and writer. In 1890 he wrote the libretto for a comic opera, Sylvia, which was published and produced at Adelaide in 1890. In 1894 he published On the Wallaby; or, Through the East and Across Australia, an account of the travels of himself and his brother, including a description of their journey across Australia from Cooktown to Adelaide. In the same year his first novel, In Strange Company was published in London and was quickly successful. He wrote over 50 books over the course of a decade. Some of his earlier works relate to stories of Australian life, but later he turned to genre fiction. He was once well known for his series of five novels about Doctor Nikola, an occultist anti-hero seeking immortality and world domination. His other works include: Dr. Nikola's Experiment (1899), A Bid for Fortune; or, Dr. Nikola's Vendetta (1895), The Duchess of Wiltshire's Diamonds (1897), Pharos the Egyptian (1899), A Sailor's Bride (1899), My Strangest Case (1901), and Connie Burt (1903).
This book is a critical study of the translation and adaptation of popular fiction into Arabic at the turn of the twentieth century. It examines the ways in which the Egyptian nahda discourse with its emphasis on identity, authenticity and renaissance suppressed various forms of cultural and literary creation emerging from the encounter with European genres as well as indigenous popular literary forms and languages. The book explores the multiple and fluid translation practices of this period as a form of ‘unauthorized’ translation that was not invested in upholding nationalist binaries of originality and imitation. Instead, translators experimented with radical and complex forms of adaptation that turned these binaries upside down. Through a series of close readings of novels published in the periodical The People’s Entertainments, the book explores the nineteenth century literary, intellectual, juridical and economic histories that are constituted through translation, and outlines a comparative method of reading that pays particular attention to the circulation of genre across national borders.
