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1883. With frontispiece. F. Marion Crawford was one of the more famous authors in the English-speaking world at the time of his death in 1909. He wrote over forty novels, most of which were in the style of disposable romances popular at the time. He also wrote stories of the horror and occult, which are generally the ones for which he is remembered today. Doctor Claudius begins: I believe I am old, said the Doctor, pushing his straight-backed wooden chair from the table, and turning from his books to look out of his small window. Yes, I am certainly very old, he said again, rapping absently on…mehr

Produktbeschreibung
1883. With frontispiece. F. Marion Crawford was one of the more famous authors in the English-speaking world at the time of his death in 1909. He wrote over forty novels, most of which were in the style of disposable romances popular at the time. He also wrote stories of the horror and occult, which are generally the ones for which he is remembered today. Doctor Claudius begins: I believe I am old, said the Doctor, pushing his straight-backed wooden chair from the table, and turning from his books to look out of his small window. Yes, I am certainly very old, he said again, rapping absently on the arm of the chair with the pen he held. But the fingers that held the instrument were neither thin nor withered, and there was no trembling in the careless motion of the hand. The flaxen hair, long and tangled, was thick on the massive head, and the broad shoulders were flat and square across. Whatever Dr. Claudius might say of himself, he certainly did not look old. See other titles by this author available from Kessinger Publishing.
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Autorenporträt
Francis Marion Crawford (1854 - 1909) was an American writer noted for his many novels, especially those set in Italy and for his classic weird and fantastic stories. H. Russell Wakefield, in an essay on ghost stories, called Crawford's "The Upper Berth" "the very best one" of such stories. Norman Douglas credits Crawford's financial success as instrumental in encouraging himself to write (though he remained critical of Crawford's habit of inserting first-person editorial comments into his fiction).