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Called a “remarkable story” by John Greenleaf Whittier and described by John Keats as “very powerful,” Wieland, Charles Brockden Brown’s disturbing 1798 tale of terror, is a masterpiece involving spontaneous combustion, disembodied voices, religious mania, and a gruesome murder based on a real-life incident.
This Modern Library Paperback Classic includes Wieland’s fragmentary sequel, Memoirs of Carwin the Biloquist, as well as several other important but hard-to-find Brockden Brown short stories, including “Thessalonica,” “Walstein’s School of History,” and “Death of Cicero.” This collection also reproduces the newspaper account of the murder that inspired Wieland.
- Sales Rank: #1134867 in Books
- Published on: 2002-06-11
- Released on: 2002-06-11
- Original language: English
- Number of items: 1
- Dimensions: 8.56" h x .94" w x 5.56" l, 1.08 pounds
- Binding: Paperback
- 412 pages
- ISBN13: 9780375759031
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
From School Library Journal
Grade 10 Up-By Charles Brockden Brown. This first American Gothic tale concerns psychotic characters, ventriloquism, murder.
Copyright 1998 Reed Business Information, Inc.
Review
“Brown was a man of genius.”—William Hazlitt
From the Inside Flap
Called a "remarkable story" by John Greenleaf Whittier and described by John Keats as "very powerful," "Wieland, Charles Brockden Brown's disturbing 1798 tale of terror, is a masterpiece involving spontaneous combustion, disembodied voices, religious mania, and a gruesome murder based on a real-life incident.
This Modern Library Paperback Classic includes "Wieland's fragmentary sequel, "Memoirs of Carwin the Biloquist, as well as several other important but hard-to-find Brockden Brown short stories, including "Thessalonica," "Walstein's School of History," and "Death of Cicero." This collection also reproduces the newspaper account of the murder that inspired "Wieland.
Most helpful customer reviews
11 of 12 people found the following review helpful.
the best edition of Wieland
By Robert Hughes
This Modern Library edition is the finest available paperback edition of Wieland. The cover art is compelling, the margins are wide enough to notate, the paper is of decent quality, the text is authoritative, Caleb Crain's introduction is even better than Norman Grabo's introduction for Penguin, and, as if that were not enough, we finally get a couple of Brown's oustanding short stories--not the lame, too-often anthologized Somnambulism, but Thessalonica, an astonishing, apocalyptic tale of civil strife, together with several other pieces worthy of note. As an appendix, we get the viscerally appalling, absolutely hair-raising, newspaper story which Brown fictionalized as Wieland (one wonders whether King and Kubrick read it too for snowy axe chase in the Shining).
5 of 5 people found the following review helpful.
Intellectual Gothic
By Fitzgerald Fan
These days, one rarely hears of Charles Brockden Brown unless one happens to be a literature professor/student. Brown has somehow managed to disappear from the radar, but I smell a revival in the future.
I absolutely loved this book. Not only is Wieland the first American gothic novel (1798), but it combines elements from the seduction novels that were also popular at that time. And more importantly, this work speaks to the precariousness of America as a nation at the time of writing. The book is loaded with metaphors, right down to the names of the characters.
Throughout the novel, battle lines are being drawn between religious belief and the hard science of the Enlightenment. The author, in many ways, shows us the many gradations between light and dark--but most of all--draws a very interesting parallel between Clara and Carwin, the only two narrators. "Wieland" proper is directly followed by another piece called "Memoirs of Carwin the Biloquist"...you must read these two pieces in conjunction in order to realize the full gravity of Brown's genius. If you are willing to commit to a close reading, you will quickly find that things are not always what they seem. You will also likely begin to realize a bizarre parallel between the two narrators, which you may find deliciously surprising if you are anything like me.
The book was actually fashioned after a true story about a man who killed his wife and children in "the name of God." If that doesn't interest you, I don't know what does! If this book tells us anything, it is that we must rely on all of our senses, not just one, if we want to survive. In this work, characters rely heavily on hearing alone...and many pay severely for it.
The Modern Library edition is a bit expensive but it is a terrific copy and includes the actual newspaper article describing the crime---not all of the publications of Wieland do this.
The only other thing I want to mention is that there are some genuinely creepy things going on in this book, and the beauty of it is, none of it is supernatural. The psychology of man is a very complex thing, indeed, and this novel proves it.
Very satisfying and highly recommended.
20 of 21 people found the following review helpful.
A Classic of American Gothic Horror
By Daniel Jolley
Charles Brockden Brown's importance in the field of American literature is indisputably very high; thus, how unfortunate it is that his works are so unknown to us today. Were it not for H.P. Lovecraft's mention of him in his essay "Supernatural Horror in Literature," I myself would remain ignorant of his very existence. Brown is arguably the father of the American novel, a brave pioneer in the era of the early Republic. This man set upon himself the noble purpose of writing fiction for a living, going against the wishes of his family and the dictates of contemporary society. Had there been no Charles Brockden Brown, there may never have been a Poe--at least, not Poe as we know him today.
The story is an Americanized Gothic romance. The spirit of Gothic literature pervades the tale, but the setting has been transferred from old castles and courtly settings to a recognizably American rural landscape which is preeminently beautiful rather than spooky. The horrors described so effectively by Brown are borne in the minds of the characters. The female protagonist Clara narrates the tortured history of her family. Her father dies mysteriously, perhaps by spontaneous combustion, ostensibly due to his failure to follow God's will in his life. She enjoys a happy adult life with her brother and his wife until a stranger named Carwin appears and quickly becomes a part of their inner circle. Carwin eventually becomes Clara's tormentor. She, her brother, and their mutual friend Pleyel all hear mysterious, unexplained voices warning them of danger and imparting fateful news on several occasions. Her brother, deeply religious like his father, is greatly affected by these phenomena--how much so we learn later in the novel. Carwin fatefully destroys Clara's life when his evil designs paint her as a harlot in Pleyel's eye. Her unrequited love for Pleyel is now met with his condemnation of her--the agony of the charges against her is particularly poignant in the early American era in which the story takes place. On the fateful night, she discovers Carwin hiding in her home, and he admits to having had murderous designs on her. Her sorrows are greatly magnified the following day by the murder of her brother's wife and five children by none other than her own beloved brother. She blames Carwin for having influenced her brother to commit murder, but we later learn that dementia itself is almost surely to blame for her brother's wrongs. Before the tale ends, she faces a confrontation with both Carwin and her murderous brother, an experience which she is fortunate to survive.
The tale itself is wonderful. The suspense Brown draws out and continually heightens is first-rate. Clara's encounters with voices and human spirits hidden in the darkness of her bedroom are spine-tingling. The language of the novel does make it a work that requires some concentration on the part of the reader and may serve to frustrate some, but I think it greatly magnifies the horrific aspects of the tale. The dialogues of the actors are admittedly overdramatic and drawn out. No one speaks in this book; rather, everyone makes speeches. The protagonist often resorts to long laments of her great woe and asks how she can possibly go on with the story. Despite such dramatics on her part, though, Clara is clearly a brave, independent woman (reflecting Brown's strong and admirable commitment to the rights of women). Overall, the tale delivers a buffet of the passive voice style of writing, which I for one refuse not to love; even the most unimportant sentences are graced with a flowery, beautiful aspect.
In terms of the Gothic element to the story, one cannot say that the supernatural aspects are wholly disproved in the end--to some extent they are, but not to such an extent that Wieland's murderous actions can be explained by them. Clearly, Wieland did hear voices other than those made by Carwin the biloquist. The air of mystery that remains about Wieland's dementia and the causes of it makes the ending more successful than I feared it would be once I learned of the power of ventriloquism exercised by Carwin to dictate many of the related events. My only complaint is with the final chapter, which is basically an epilogue in the protagonist's journal. Inexplicably, it introduces a new character to explain something about a minor character whom I frankly could not even remember.
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