The tension builds towards a shocking and unforgettable conclusion, when the full horror of Eltonsbrody will be revealed. But behind the locked doors of the house's disused rooms lurk terrible secrets, and soon strange and blood-curdling events begin to unfold. nach der Bestellung gedruckt Neuware - Printed after ordering - When Woodsley, a young English painter, arrives in Barbados and finds no lodging available, he thinks himself fortunate to be invited to stay at Eltonsbrody, a mansion belonging to the eccentric widow Mrs Scaife. A title in the Caribbean Modern Classics series. Told in Woodsley s skeptical, self-mocking and good humoured voice, Mittelholzer creates a brilliantly atmospheric setting for his characters and their terrified discovery that this is not a place where they can be at home. But when the Nevinsons mention a flute player that no one else can hear, Woodsley begins to glean that there is more to their stay. Milton, an artist, thinks he has been invited to do some paintings for Nevinson, a rich businessman.
Only when he is on board the steamer halfway to their remote destination up river in Guyana does Milton Woodsley realize that there is more to Henry Nevinson s invitation to spend time with his family in their jungle cottage. Tiny knocks to front corners but hardly noticeable. Originally published in 1955 by Secker and Warburg. Moore's concept of “world-ecology,” which designates the epochal reorganization of the worldwide production of nature that was integral to the rise of the capitalist world-economy.Soft cover. The analysis is framed by geographer Jason W. The novel's amalgamation of Euro-American gothic tropes and Guyanese folklore, the author argues, registers the “bewitching” impact of the sugar industry on the socioecological development of Guyana. Specifically, it uses Mittelholzer's narrative as a means to approach these issues in environmental terms. Arguing for an understanding of the capitalist world-system as the interpretative horizon of world-literature, this essay considers how the formal and stylistic mannerisms of Edgar Mittelholzer's My Bones and My Flute (1955) register the contradictory inflection of capitalist modernity in Guyana.
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