Joseph Thomas Sheridan Le Fanu (1814 - 1873) was an Irish writer of Gothic tales and mystery novels. He was a leading ghost-story writer of the nineteenth century and was central to the development of the genre in the Victorian era. M. R. James described Le Fanu as "absolutely in the first rank as a writer of ghost stories". Three of his best-known works are Uncle Silas, Carmilla and The House by the Churchyard. --Wikipedia
Uncle Silas: A Tale of Bartram-Haughby Joseph Sheridan Le Fanu
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In Uncle Silas, Sheridan Le Fanu's most celebrated novel, Maud Ruthyn, the young, naïve heroine, is plagued by Madame de la Rougierre from the moment the enigmatic older woman is hired as her governess. A liar, bully, and spy, when Madame leaves the house, she takes her dark secret with her. But when Maud is orphaned, she is sent to live with her Uncle Silas, her father's mysterious brother and a man with a scandalous-even murderous-past. And, once again, she encounters Madame, whose sinister role in Maud's destiny becomes all too clear.
With its subversion of reality and illusion, and its exploration of fear through the use of mystery and the supernatural, Uncle Silas shuns the conventions of traditional horror and delivers a chilling psychological thriller.
Author Biography: Joseph Sheridan Le Fanu (1814-1873) was born in Dublin, the great-nephew of playwright Richard Brinsley Sheridan. His novels and many short stories were precursors to modern occult tales.
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I'm not a big fan of Victorian novels, but I'm a huge fan of Sheridan Le Fanu, one of the foremost writers of ghost stories in the English language. 'Uncle Silas' has been described as a short story unfortunately gotten in a family way, but it was very popular in its day and is now included in World Classics. Unlike the ghost stories, the novel sticks to the more explicable evil of living beings, but is still heavy on the chills. The basic plotline---young, naive heiress is thrust into great danger by the death of her father/protector---is a familiar enough theme, and resonates clearly in any period. To our modern sensibility, she cries too much and takes too much for granted, but it's consistent with the age and circumstance. What makes the novel special is the gradual but inexorable building of fear and foreboding as the story unfolds, punctuated with Le Fanu's uncanny eye and ear for the grotesque detail. In an age when books were often read by candlelight, 'Uncle Silas' must have troubled the nights of many a reader, young or old. The Penguin edition has a comprehensive introduction and is loaded with chapter-by-chapter endnotes, which illuminate a lot of period vernacular and references that might otherwise be missed. Practiced readers of Gothic and Victorian fiction would probably classify 'Uncle Silas' as a 19th-century beach book, but that quality is what makes it particularly approachable for a modern reader.
Uncle Silas is filled with very colorful characters set amongst dreary, but delightfully so, backdrops that, as a fan of Gothic Lit, keeps one entranced