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Possessed
- Language
- EN
- Format
- EPUB
- Size
- 222 KB
Description
Set in the early 20th century, Cleveland Moffett's novel "Possessed" examines the psychological struggles of Penelope Wells, a woman haunted by her past and recent trauma. The narrative begins during a social gathering where a medium, Seraphine, predicts a tragic future for Penelope. The story follows her subsequent attempts to confront her inner turmoil as she experiences manifestations of dual personality, visions, and unexplainable voices. The novel explores themes of mental instability, the influence of supernatural elements, and the lingering effects of wartime experiences on individual psyche. Through its portrayal of Penelope’s psychological distress, the work reflects contemporary interests in mental health and the mysterious phenomena associated with the early 20th-century fascination with spiritualism. The plot develops within an urban setting, capturing the social and cultural milieu of the period while focusing on the character’s internal conflicts.
The novel is a psychological narrative that combines elements of realism and supernaturalism, characteristic of early 20th-century literature. It underscores the tension between rational explanation and inexplicable phenomena, characteristic of the period's fascination with spiritual and psychological mysteries.
The novel is a psychological narrative that combines elements of realism and supernaturalism, characteristic of early 20th-century literature. It underscores the tension between rational explanation and inexplicable phenomena, characteristic of the period's fascination with spiritual and psychological mysteries.
From the opening pages
sang its little twisted soul out under the caress of Penelope's white fingers. I can still see the big black opal in its quaint setting that had replaced her wedding ring and the yellow serpent of pliant gold coiled on her thumb with two bright rubies for its eyes. Penelope Wells! How little we realized what sinister forces were playing about her that pleasant evening as we smoked and jested and sipped our glasses, gazing from time to time up the broad vista of Fifth Avenue with its lines of receding lights. There had been an impromptu session of the Confessional Club during which several men, notably a poet in velveteen jacket, had vouchsafed sentimental or matrimonial revelations in the most approved Greenwich Village style. And the ladies, unabashed, had discussed these things. But not a word did Penelope Wells speak of her own matrimonial troubles, which were known vaguely to most of us, although we had never met the drunken brute of a husband who had made her life a torment. I can see her now in profile against the open window, her eyes dark with their slumberous fires. I remember the green earrings she wore that night, and how they reached down under her heavy black braids—reached down caressingly over her white neck. She was a strangely, fiercely beautiful creature, made to love and to be loved, fated for tragic happenings. She was twenty-nine. The discussion waxed warm over the eternal question—how shall a woman satisfy her emotional nature when she has no chance or almost no chance to marry the man she longs to marry? Roberta Vallis put forth views that would have frozen old-fashioned moralists into speechless disapproval—entire freedom of choice and action for women as well as men, freedom to unite with a mate or separate from a mate—both sexes to have exactly the same responsibilities or lack of responsibilities in these sentimental arrangements. “No, no! I call that loathsome, abominable,” declared Penelope, and the poet adoringly agreed with her, although his practice had been notoriously at variance with these professions. “Suppose a woman finds herself married to some beast of a man,” flashed Roberta, “some worthless drunkard, do you mean to tell me it is her duty to stick to such a husband, and spoil her whole life?” To which Penelope, hiding her agitation, said: “I—I am not discussing that phase of the question.…
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