Novels
- The Wind (1925)
- Can’t Get a Red Bird (1929)
Collections
- From a Southern Porch (1919)
- Humorous Ghost Stories (1921)
Anthologies edited
- Famous Modern Ghost Stories (1921)
Non fiction
- The Supernatural in Modern English Fiction (1917)
- On the Trail of Negro Folk-songs (1925)
- A Song Catcher in the Southern Mountains (1937)
Novels Book Covers
Collections Book Covers
Anthologies edited Book Covers
Non fiction Book Covers
Dorothy Scarborough Books Overview
The Wind
‘How could a frail, sensitive woman fight The Wind…
a ghost more terrible because invisible that wailed to her across waste places in the night, calling to her like a demon lover?’
The Wind stirred up a fury among Texas readers when it was first published in 1925.
This is the story of Letty, a delicate girl who is forced to move from lush Virginia to desolate West Texas. The numbing blizzards, the howling sand storms, and the loneliness of the prairie all combine to undo her nerves. But it is The Wind itself, a demon personified, that eventually drives her over the brink of madness.
While the West Texas Chamber of Commerce rose up in anger over this slander of their state, Dorothy Scarborough’s depiction of the cattle country around Sweetwater during the drought of the late 1880s is essentially accurate. Her blend of realistic description, authentic folklore, and a tragic hero*ine, bound together by a supernatural theme, is unique in Southwestern literature. As a story by and about a woman, The Wind is a rarity in the early chronicles of the cattle industry. It is also one of the first novels to deal realistically with the more negative aspects of the West.
Sylvia Ann Grider’s foreword reports on the life and work of Dorothy Scarborough, a native Texan and a well respected scholar.
Humorous Ghost Stories
This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR’d book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
Famous Modern Ghost Stories
Large Format for easy reading. Compilation of short stories conerning ghosts and the supernatural compiled by a fan and expert in the genre
The Supernatural in Modern English Fiction
Purchase of this book includes free trial access to www. million books. com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: CHAPTER II Later Influences THE Gothic period marked a. change in the vehicle of supernaturalism. In ancient times the ghostly had been expressed in the epic or the drama, in medievalism in the romances, metrical and prose, as in Elizabethan literature the drama was the specific form. But Gothicism brought it over frankly into the nove , which was a new thing. That is noteworthy, since super naturalism seems more closely related to poetry than to prose; and as the early dramas were for the most part poetic, it did not require such a stretch of the imagination to give credence to the unearthly. The ballad, the epic, the drama, had made the ghostly seem credible. But prose fiction is so much more materialistic that at first thought supernaturalism seems antagonistic to it. That this is not really the case is evidenced from the fact that fiction since the terror times has retained the elements of awe then introduced, has developed, and has greatly added to them. With the dying out of the genre definitely known as the Gothic novel and the turning of Romanticism into various new channels, we might expect to see the disappearance of the ghostly element, since it had been overworked in terrorism. It is true that the prevailing type of fiction for the succeeding period was realism, but with a large admixture of the supernormal or supernatural. The supernatural machinery had become so well established in prose fiction that even realists were moved by it, some using the motifs with bantering apology even Dickens and Thackeray, some with rationalistic explanation, but practically all using it. Man must and will have the supernatural in his fiction. The very elements that one might suppose would counteract it, modern thought, invention, science, serve as feeders to its force. In the i…