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...published book on Gaston Leroux's Le Fantome de l'Opera, which appeared in 1910 and which, Hogle persuasively argues, has survived "because its deepest 'undergrounds' contain conflicts among class-based attitudes and ideologies that are vitally important to the self-fashioning of the urban middle class in the modern Western world" (3). The Phantom of the Opera has been something of step-child of Gothic fiction, more familiar as a creepy silent film (1925, starring Lon Chaney) or a Hammer Horror (1962, starring Herbert Lom), even before the Andrew Lloyd Webber musical version swept the West End stage and insured that the limpid voice of Michael Crawford would sound for many the only authentic cry of the subterranean sublime.
Hogle goes back to the original text and places it contextually in the Gothic lineage to which it so obviously belongs. He makes useful connections to Balzac's Sarassine, Hugo's Notre Dame de Paris, and other titles of nineteenth-century Gothic, such as Dr. Jekyll and Mr. Hyde and Dracula. Hogle is not superficial in tracing these connections. Quite the reverse: he looks deeply into the structure and meaning of earlier Gothic...
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