Books Achilles, Jochen.  Sheridan Le Fanu und die Schauerromantische Tradition: zur Psychologischen Funktion der Motivik von Sensationsroman und Geistergeschichte.  Tubingen:  G. Narr, 1991. Anon.  J. Sheridan Le Fanu (1814-1873).  Ebook. As part of Pegasos, Kuunsankosken Kaupunginkirjasto of Finland presents a biographical sketch of the Irish novelist Joseph Sheridan Le Fanu (1814-1873).  Le Fanu is the creator of the modern ghost story. Bauch, Christopher.  Zu: Joseph Sheridan Le Fanu--Carmilla: Der weibliche Vampir im erotischen Gewand.   Grin Verlag, 2008. A short German language student paper on Le Fanu's "Carmilla." Bloch, Robert N. J. Sheridan Le Fanu eine kommentierte, illustrierte Bibliograohie seiner Veroffentlichungen im deutschen Sprachraum.  Giessen: Lindenstruth, 2010. Crawford, Gary William, and Brian J. Showers.  Joseph Sheridan Le Fanu:  A Concise Bibliography. Dublin: Swan River Press, 2011. An abbreviated bibliography drawn from the original Greenwood bibliography. Crawford, Gary William, Jim Rockhill and Brian J. Showers, eds. Reflections in a Glass Darkly: Essays on J. Sheridan Le Fanu.  New York:  Hippocampus Press, 2011. Essays in the book: "Extracts from Wilkie Collins, Le Fanu and Others," by S.M. Ellis. Reprints salient passages of this early essay that brought forth the sensational legend of Le Fanu's death, which later correspondence contradicts. A long editorial footnote discusses this matter sensibly. "A Memoir of Joseph Sheridan Le Fanu," by Alfred Perceval Graves. Reprints this essay of recollections of Le Fanu when Graves was a boy.  Graves was a friend of Le Fanu's son Phillip. The piece first appeared in the first book publication of The Purcell Papers in 1880. "M.R.James on J.S. Le Fanu," by M. R. James. An honest essay on Le Fanu's works that does not hesitate to point out their flaws.  Regards Uncle Silas and In a Glass Darkly as his best and most widely read works. "A Forgotten Creator of Ghosts--Joseph Sheridan Le Fanu, Possible Inspirer of the Brontes," by Edna Kenton. Kenton speculates on the fact that Charlotte Bronte read Le Fanu's "A Chapter in the History of a Tyrone Family" before she wrote Jane Eyre and that it influenced her.  Both stories deal with bigamy. "Anecdotes from Seventy Years of Irish Life," by William R. Le Fanu. Selects passages from Le Fanu's brother William's memoirs that offers much biographical information and amusing stories of his life with his brother Joe. "Portraits of Joseph Sheridan Le Fanu," by Jim Rockhill, Brian J. Showers, and Douglas Anderson. Reproduces with full details of creation, current owner, and location, twelve portraits of Le Fanu.   Descendents of the Le Fanu family aided the authors of the section. "A Void Which Cannot Be Filled Up: Obituaries of J.S. Le Fanu," by Brian J. Showers. Reprints a number of prominent obituaries of Le Fanu with commentary. "Sheridan Le Fanu," by E.F. Benson. A short essay with some passages that are famous in Le Fanu criticism.  For example, "He produces, page for page, a far higher percentage of terror than does the more widely read Edgar Allan Poe, and whether he deals in ghosts direct or in more material horrors, his success in making readers very uneasy is amazing." "From The Supernatural in Fiction," by Peter Penzoldt. The first really solid consideration of Le Fanu's supernatural tales.  Analyzes the techniques Le Fanu used to present the supernatural in his short stories.  Essential reading. "An Irish Ghost," by V.S. Pritchett. A fine, beautifully written and insightful commentary on Le Fanu's ghost stories, noting Le Fanu's keen psychological insights and feverish intensity.  The ghosts are in "the anterooms of the mind." "Excerpts from the 'Prologue' and 'Epilogue' of Madam Crowl's Ghost," by M.R. James. Contains famous passages that echo through later criticism.  For example, "He stands absolutely in the first rank among writers of ghost stories." "Doubles, Shadows, Sedan Chairs and the Past:  The Ghost Stories of J.S. Le Fanu," by Patricia Coughlan. Argues that Le Fanu's ghostly fiction is based on German models.  Discusses the domestic interior, the doppelganger or the shadow, and the landscape to show that these elements are from the essays on German literature that Le Fanu read about in The Dublin University Magazine. "Making Light in the Shadow Box: The Artistry of Le Fanu," by Kel Roop. Explores the influence of the painter Godfrey Schalken on the ghost stories of Le Fanu, and concludes that the images of light and dark, as presented in the painter's work, influenced much of the word painting and themes in the ghost stories.  Argues that Le Fanu's imagery of light and painting present an eerie glow which usurps human power. "Le Fanu's House by the Marketplace," by Wayne Hall. Argues that Richard Bentley's insistence that Le Fanu write "British" stories for a "British" audience confused his later powers.  He was not really in sync with a British audience, and the later novels   were not his best works. "Sheridan Le Fanu and the Spirit of 1798," by Albert Power. A historical essay about the famous rebellion of 1798 that inspired Le Fanu to write the ballad "Shamus O'Brien."  The poem was enormously popular with Irishmen in the United States. "'A Regular Contributor': Le Fanu's Short Stories, All the Year Round, and the Influence of Dickens," by Simon Cooke. Studies this history of Le Fanu's association with Dickens in Dickens's magazine All the Year Round, and discusses Dickens's ghost story "The Signalman."  Argues that Le Fanu's "Green Tea" was an influence on Dickens in his writing of "The Signalman." "A Shared Vision: Le Fanu's In a Glass Darkly and Carl Theodor Dreyer's Vampyr," by Gary William Crawford. Dreyer reinterprets the narrative structure of In a Glass Darkly in his film Vampyr with a series of comparable cinematic techniques.  The darkness at the core of both works poetically expresses the mystery at the heart of life. "Dreyer, Vampyr, and Sheridan Le Fanu," by Mark Le Fanu. Written by a distant relative of Le Fanu, devotes most of the essay to Maurice Drouzy's biographical reading of Vampyr, which stresses its origin in autobiography.  The old, stout, grim female vampire is a reflection of Dreyer's stepmother, and the vampire's victim is seen as a reflection of Dreyer's birth mother (he was born out of wedlock).  Its origins in the Le Fanu original are discussed and suggests that there is more of Le Fanu in the film than meets the eye. "Contemporary Reviews," compiled by the editors. A number of reviews of Le Fanu's works during his lifetime.  They cover a wide range with very different points of view, some of which are very harsh. "'Green Tea': The Archetypal Ghost Story," by Jack Sullivan. Essential reading.  " . . . the plot develops itself entirely through suggestion and indirection, building toward an extraordinary dream sequence involving the transformation of a coffin into a Victorian four-poster bed. It is a chilling performance." "Introduction to The House by the Church-Yard," by Elizabeth Bowen. Bowen stresses that the novel is not as easy to read as Uncle Silas but has its own unique power. "Three Ghost Stories: 'The Judge's House,' 'An Account of Some Strange Disturbances in an Old House in Aungier Street,' and 'Mr. Justice Harbottle,'" by Carol A. Senf. Argues that it is difficult to know the extent of Le Fanu's influence on Stoker, but compares and contrasts the Stoker tale and the two by Le Fanu, and concludes that each tale stands alone. "Introduction to Uncle Silas," by M.R. James. James compares the first version of Uncle Silas, "The Murdered Cousin," to the later novel form and considers the novel better. "Conversations in a Shadowed Room:  The Blank Spaces in 'Green Tea,'" by John Langan. Offers a fresh approach to the tale that emphasizes setting and architecture as a driving motif in the creation of the supernatural.  The "elliptical" quality of the tale is generated by the setting in time and space. "Introduction to Uncle Silas," by Elizabeth Bowen. Sees the novel as a romance of terror.  Se also regards it as an Irish novel that has been transposed into an English setting.  She remarks that Maud may be likened, in this symbolic drama, to the bride of Death. "'Addicted to the Supernatural': Spiritualism and Self-Satire in Le Fanu's All in the Dark," by Stephen Carver. A satire on spritualism that is also Le Fanu's self-satire.  He pokes fun at his own pervasive use of the supernatural. "In the Name of the Mother: Perverse Maternity in 'Carmilla,'" by Jarlath Killeen. Discusses the trope of the absent mother in much Gothic fiction, and relates it to the motherless girls in "Carmilla" and shows how this is disastrous for all concerned. All of the characters are death-haunted, and this theme is not unlike its use in Le Fanu's other works. "Crossing Boundaries, Mixing Genres in The Wyvern Mystery," by Sally Harris. Contends that Le Fanu has characters that escape from or escape to houses and settings, creating a kind of mystery for the reader as to which genres are used in the novel.  Breaking boundaries is important to Le Fanu, because he wants to throw the reader off, keeping him mystified.  Mystery is an essential element in all of Le Fanu's works. "'I Resolved to Play the Part of a Good Samaritan': Metafiction in 'The Room in the Dragon Volant,'" by William Hughes. " . . . a crafted and deliberate work that explores the machinations of fiction as much as it does those of crime, a rudimentary metafiction that anticipates the self-consciousness of postmodern writing by way of a fictional narrator whose reminiscence demonstrably functions in the manner of a fictional narrative; which in turn depicts a younger man who views his world by way of the cliches of contemporary fictional discourse, and perceives himself in the person of a fictional character." "'The Child that Went with the Fairies':  The Folk Tale and the Ghost Story," by Peter Bell. Shows how Le Fanu transforms the folk tale into a ghost story.  One of the last stories he published, shows how he returned to the folk tales he heard in his youth. "The 'Smashed Looking-Glass': Narrative Perversity in Willing to Die," by Victor Sage. A study of the narrative techniques of the novel show how fragmentary and "perverse" is Ethel Ware's narrative.  As in a "smashed looking-glass" she remains faithful to herself, even though the Romantic love she seeks is an impossibility.  Her adherence to "fact" and a absolute narrative sequence makes her one of Le Fanu's many haunted protagonists. Dagg, T.S.C. Joseph Sheridan Le Fanu (1814-1873):  A Memorial Discourse Delivered in the Chapel of Trinity College, Dublin, on Trinity Monday, 13th June, 1949. Dublin:  The Dublin University Press, Trinity College, 1949. A short fifteen page pamphlet of a lecture delivered in 1949.  Bases much on the work of S.M. Ellis and Alfred Perceval Graves. Interesting for mentioning the dramatizations of Le Fanu's works by Lady Longford and others. Gaul, Ilona.  Women's Sexual Liberation from Victorian Patriarchy in Sheridan Le Fanu's Carmilla.  Grin Verlag, 2007. A student paper published as a pamphlet.  Shows "that Laura's devotion to Carmilla exercised through the vampiric act can be read as a female escape from patriarchal chains." Girard, Gaid. Joseph Sheridan Le Fanu:  Une ecriture fantastique.  Paris: Champion, 2005. A close reading of a number of Le Fanu texts that emphasizes the hybrid nature of his work and his self-consciousness as a writer. A excellent review of this book in English by Victor Sage is in The Irish University Review 37.1 (22 March 2007): 281-86. There is also a French language review by F. Dupeyron-Lafay in Etudes Anglaises 60.2 (2007): 239-41. Lozes, Jean.  Un roman gothique irlandais: Uncle Silas de Sheridan Le Fanu.  Bordeaux:  Presses universitaires de Bordeaux, 1992. McCormack, W.J. Sheridan Le Fanu and Victorian Ireland.  2nd ed. Dublin: Lilliput, 1990. A revised version of the book originally published in 1980 by Oxford University Press. McCormack, W.J. Sheridan Le Fanu.  3rd ed. Phoenix Mill, England: Sutton, 1997. A new revision with a new introduction by McCormack. Nalecz-Wojtczak, Jolanta.  Picture and Meaning: The Visual Dimension of Sheridan Le Fanu's Fiction.   Lodz Wydan. Lodzkiego, 1991. Pezzini, Franco. Cercando Carmilla.  La leggenda della donna vimpira, Ananke.  Italy: Torino, 2000. Sage, Victor. Le Fanu's Gothic: The Rhetoric of Darkness.  Houndmills, England: Palgrave Macmillan, 2004. This study explores the relations between reader and text across the span of Sheridan Le Fanu's career, placing his early work of the 1830s in context.  Victor Sage concentrates on the development of Le Fanu's hybrid forms, which mingle satire and comedy with Gothic horror, and also discusses   Uncle Silas and "Carmilla," giving space to the often neglected unpublished romances. Schneidewind, Friedhelm and Ulrike Schneidewind, eds.  Carmilla: und es gibt sie doch!  Saarbruken, Germany: Logos-Verlag, 1994. Silvani, Giovanna.  Analisi di un racconto gothico: 'Carmilla' di J. S. Le Fanu.  Rome:  Bulzoni, 1984. Spina, Giorgio.  Carmilla, una Storia Gotica.  Genova: Autori Autogestiti Associati Ligurim & Personaledit, 2006. Walton, James.  Vision and Vacancy:  The Fictions of J.S. Le Fanu.  Dublin: University College Dublin Press, 2007. Taking his cue from W.J. McCormack, James Walton approaches Le Fanu's works from  the recurring motif of "the void."  By placing his work within the appropriate contexts of early apparition narrative and modern ghost story, English and Continental novel, Walton's study provides not only the most thorough account of the richness of his techniques but shows how cosmopolitan influences were an inescapable condition of his Anglo-Irishness.