Emma Courtney’s Memoirs of Stalking

The novel was not pleasant to read: overwrought.  Yet, reading this novel is a must for anyone interested in gender play during this time in England.  I was floored.  Here is a heroine -- virtuous, no less -- who throws herself at a married man, drives a husband to suicide, neglects her daughter for love, and blatantly tells off her elders and superiors (men, no less).  To say that Courtney is "a romantic enthusiast" as she "melts into tears" at every turn, is a bit of an understatement. 

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Adventures in Emotion: Death in Venice

The foreboding lifelessness that stretches itself out before Gustav Aschenbach's life can be summarized by a series of words/phrases that arise consistently or at key moments, such as: "red," "false midsummer," or "diseased city."

Passion in House of Leaves

The major difference between House of Leaves and, say, Eliot's Mill on the Floss is its expression of passion.  The postmodernist keeps his passion hidden -- that is a very important aspect of postmodernity as far as I'm concerned.  Passion is the THING that the postmodernist is too afraid to reveal.  Everything else (his desire for his mother, his stained underwear, his alcoholism, his abysmal sorrow etc.) is considered part of his art.