n January 8, 1882, Henry James, visiting Washington from his home in London, wrote this in a letter to a friend in Britain:
At the end of Flannery O’Connor’s short story “A Good Man Is Hard to Find,” The Misfit, an escaped convict who’s just ordered an entire family shot dead, denies that murdering the doddering old lady who frantically tried to save his soul brought him joy: “Shut up, Bobby Lee. It’s no real pleasure in life.”
O’Connor’s Southern Gothic stories were full of grotesque violence, but Catholic ideals of redemption always lurked in background. Murder, as The Misfit claims, is “no real pleasure.”
If necromancy, inbreeding and ancestral curses float your boat, then Welsh National Opera’s double bill could be for you. It presents two one-act operas, both adaptations of Edgar Allan Poe’s Gothick chiller The Fall of the House of Usher, and both in their different ways interesting failures.
Edgar Allan Poe was 3 years old the first time he met John Mackenzie, a local kid who would become a lifelong friend.
New English literature GCSE ditches American classics for pre-20th century British authors such as Dickens and Austen