Julia is loaded with exposition and adverbs, but that's because it's a product of its times. Pick up any literary horror novel from this era, Stephen King's work included, and you will find the same bloated prose. Lastly, I will mention some rather laughable repetition toward the end of the book. Three times in one chapter, Straub writes: Let that sink in. By the end of the chapter, Straub flips the script, presumably because he's noticed his repetition, and slightly changes the sentence to: Peter Straub is a literary giant, and what I say about his books does not matter, but this early novel is, for the most part, a pain in the ass to read.
A killer opening and ending are the only reasons to read this, but only if you're a fan of unhappy endings. Recommended for Peter Straub completionists alone.
View all 5 comments. This slipcased hardcover edition is numbered 40 of produced and is signed by: Wright introduction Marcela Bolivar cover Rodger Gerberding interior illustrations. Julia isn't a modern horror novel racing with flesh-eating zombies or vampire romance or evil imaginary friends; it is a ghost story in a sense, but it's more so about how evil people never die Julia was made into a movie as well, and the movie, albeit very good, isn't as descriptive or disturbing as the book. The book follows Julia Lofting, a woman who has recently left behind her daughter's death, an involuntary placement in a mental hospital and her son-of-a-b!
It isn't until she purchases a rather large old house with a dark, extensive past that the horror really begins. This isn't the best of Straub's work, but it's creepy and disturbing and it's also got a good mystery to it. If you want to avoid the fast-paced action of modern horror and just sit and enjoy a compelling horror mystery or paranormal story, this is definitely a good one to check out.
This was the author's first venture into the supernatural genre, originally published in and it reads like it. It isn't dated per se, it seemly belongs to another time, one where attitudes where different, women's lib not quite there or at all there really , one had to go to the actual library for research, etc. Although yoga was as popular as it is now. The eponymous heroine is a woman of 36, who has recently lost her only child under tragic circumstances, even more recently left her husb This was the author's first venture into the supernatural genre, originally published in and it reads like it.
The eponymous heroine is a woman of 36, who has recently lost her only child under tragic circumstances, even more recently left her husband and set off to start anew in a sprawling Kensington house purchased on a whim. Soon she starts seeing things, hearing things, experiencing things and her insular friendless life with only known acquaintances being the family of her husband and her questionable sanity make the nature of this haunting a questionable proposition.
Straub gives away a tad much throughout the book to make it so, with less information it would have been a straight up horror, as is it straddles the line of psychological descent into madness sort of drama. It works as both and, imperfect as it may be, is still a very good read. The latter is an improvement in terms of pacing, character dynamics, suspense and yet both are stories of subtle, potentially explicable, psychological hauntings. Both are riveting in their own ways. This one might have done with more likeable characters or at the very least a stronger Julia, but then again a stronger woman would likely put up more of a fight.
One can't help but appreciate the author's innate ability to create genuinely eerie scenes, to frighten and move without resorting to the cheap tricks of gore and guts, to really get to the heart of what's scary, to portray sanity as a delicate shifting unstable element it really is. For a all its shortcomings, this was still made for a very enjoyable reading experience or a genuine literary horror. One of those rare cases where the book isn't quite as good as the movie. Still worth reading, but if you like the story definitely check the movie out. Wonderfully tense and atmospheric, with classic gothic sensibilities.
Feb 29, Kirsten rated it it was ok Shelves: I didn't like this one nearly so well as Straub's other novels. I kept reading because I thought there was going to be a pay-off, and I was going to find out something really creepy and interesting, but instead things just stayed obscure and I was left confused by the ending. Feb 14, A. A wonderful creepy and perverted tale that was the basis for the movie, The Haunting of Julia.
It doesn't bust out till around page , so stick with it. I'm not sure that The Talisman even counts, because his and King's writing blended so seamlessly that I could almost never tell which of them was writing any given scene. I wouldn't say I'm disappointed so much as surprised. This is very different from the modern horror novel, which I suppose I should have guessed given that it was published in It reminds me quite a bit of Rosemary's Baby , or The Exorcist --you know, that late-sixties-early-seventies horror, which was very slow, cerebral, psychological, and subtle, especially when compared to later periods of horror.
Still, Carrie was published the year before this, so maybe Staub was riding a wave that was just about dying at this point. Anyway, enough background--let's talk about the story. As mentioned, it is very slow, very cerebral, much more "creepy" than necessarily "horrifying. One of the novel's major "surprises"-- view spoiler [that Julia was the one who killed Kate, and not her husband Magnus hide spoiler ] --was evident from early on, so that was no shock.
In fact, there really weren't many surprises, in the end. The only thing I didn't expect was view spoiler [Julia's suicide hide spoiler ] , but that was written in such a confusing manner that I had no idea what happened until the characters explained it later on.
There's no rule of horror that a novel necessarily has to have a surprise ending, or a "twist," but when the summary on the back of the book tells you all you need to know about plot, finishing the novel gets frustrating. Julia is not a remarkable main character, but nor is she unbearable; she's sympathetic, not too awfully stupid, and though willfully ignorant at times, she as a lot of passion. Furthermore, she is the only decent character in this story. The minor characters are generally all unpleasant and awful.
But the real shitshow is the entire Loftings family--Magnus, Lily, and Mark. Every one of them is greedy, cruel, abusive, and absolutely horrible to Julia. Magnus is the typical abusive, controlling husband though rather less aggressive than many of his brothers, who would never let their wives move out and buy new houses without them without killing them first ; Lily is condescending, smug, and uses Julia; Mark seems to be sympathetic to her, but is also blatantly using her, both for money and as an emotional crutch. All three of them profit enormously from Julia's wealth, and none of them feel a shred of guilt about it.
Lily is maybe the worst, which is so annoying--I am absolutely sick of the "evil man has an even eviler woman pulling his strings" cliche re: Anyway, the entire clan is a bunch of horrible shitfaced garbage. They make this kind of a difficult read, especially when you get to the end and view spoiler [find that they haven't learned a goddamned thing or been punished at all for their choices. It is also about evils which are entirely human--greed, lust, revenge, manipulation, et cetera.
I'd recommend to fans of the classic horror wave and anybody who's really interested in haunted house stories. Mar 04, Melinda Hazen rated it really liked it Shelves: This review has been hidden because it contains spoilers. To view it, click here. I saw the movie when I was little, and it had such an impact on me. It was interesting to see the differences between the book and movie. And there were a lot. I think the movie made up stuff and left out things. It's one of those things where I don't know what I would have liked more had I read the book before seeing the movie.
For example, in the movie version, many of the characters are killed by Olivia. But in the book, they are all ali I saw the movie when I was little, and it had such an impact on me. But in the book, they are all alive. In the movie, we see Olivia slash Julia's throat, and it ends showing her bleeding. But the book led everything to think she killed herself. Also, we didn't know the connection of Magnus, Heather and Olivia. He's Olivia's dad and it's mentioned that he was older than Julia. But in the movie version, Heather is old enough to be the grandmother of Magnus.
There isn't a relationship between Mark and Julia and I didn't know if we knew that Mark was adopted and a brother to Magnus in the movie. They were very alike and yet different stories. I'm not sure if I would have liked the movie as much had all these things occurred in the book in the movie or not. The book was creepy and I did enjoy it. I prefer things slower and more suspense than all this action happening that I don't find as scary. I liked the build up in the movie and the book. I know some might have found that boring but it's what I prefer. The movie also reminded me of the story of Mary Bell—the 10 year old in the UK who murdered two young boys.
I always wondered if the author based some of his book loosely on that real life person for Olivia. Mar 15, M rated it liked it. We see through they eyes of a main character, the fragile Julia Lofting, who at best is an unreliable narrator, and at worst an outright madwoman. Straub crafts an eerie novel about madness, death and the notion of true evil. If you like this kind of story, it's a definite must-read, but good luck finding a cop "Julia" is an incredibly well-done modern Gothic in the same vein as Henry James' "The Turn of the Screw" or Shirley Jackson's "The Haunting of Hill House," though not quite so masterful.
If you like this kind of story, it's a definite must-read, but good luck finding a copy. I had to get mine through a library in Jersey. If you want to see the movie version, its U. The movie definitely takes liberties from the book, but it works. The musical score is incredibly eerie, too. View all 4 comments. It can't be got rid of. Revenge is what it wants, and it gets it. Peter Straub is a master at psychological horror, at getting under your skin and making you believe, even if just for a few moments, that you are the character being watched, stalked, threatened.
Staying up late to read this the other night, the only one awake in the house, I hear "Evil isn't like ordinary people. Staying up late to read this the other night, the only one awake in the house, I heard the same tapping at the windows that Julia did and had to get up and check them all, scared out of my mind, of course. Jan 20, Mary rated it really liked it Recommends it for: Anyone who likes horror. When Julia Lufting loses her child horribly, she moves to a new house to deal with her grief.
What she finds is that her house is haunted by a little girl who died mysteriously. Now she must deal with her own grief and discover how the child from her house died. Peter Straub was one of those authors whose books populated my favorite section of the bookstore when I was growing up, but I never read him until recently. He had teamed up with King for the Talisman, and though that book was in our home library, I hadn't read it either.
Straub's book covers had this ethereal quality to them and I was drawn in particular to Floating Dragon, a title that seemed to encapsulate that feeling. I had long wanted to read it, but continually put off buying it. Only dec Peter Straub was one of those authors whose books populated my favorite section of the bookstore when I was growing up, but I never read him until recently. Only decades later, finding it on a dilapidated shelf of a musty used bookstore for a fraction of its cover price, did I decide to purchase it.
Then it took me another couple of years to actually read it. I was quite pleased with it when I did, but I couldn't write a review of it because I scarcely remember much of it, only that I enjoyed it; or I enjoyed having finally read it. I mention it here because reading it caused me to finally break through the Straub barrier I had formed back in my childhood--and that brings me to Julia. As far as book covers go, this one stepped outside of the ethereal realm and planted its foot firmly in the creepy.
Of course, possessed dolls are rather popular in today's horror cinema. I can't say that the creepy vibe was delivered in the story, though. Julia is a fairly by-the-numbers haunted house story. As I read it, I began to think that it may have been a blueprint for countless haunting horror films that would follow and that any predictability was therefore not the fault of the book. Nonetheless it's hard to read a book that is predictable and enjoy it as if it weren't.
What keeps me going in older books like this is that it is a peek into the past. I like the relationship dynamics in particular and don't judge the material for simply being a product of its time.
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Where Julia shines is in its conclusion. I won't give it away, but I can say that it was not predictable. That ultimately led me to bump up the rating one star. However, I would only recommend this book if you are either a Straub fan, interested in the time period and the setting 60ss London or you just enjoy a good, solid haunting story. A pesar de que su sinopsis haga creer en una historia de casa encantada.
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Dec 11, SarahA17 added it Shelves: Straub's first novel is quite different than his other writing. Good book, just different. Das Buch beginnt damit, dass die Frau Julia ein Haus kauft. In dem neuen Haus hoert Julia merkwuerdige Geraeusche und es geschehen seltsame Di nge. Sie glaubt, das Magnus hinter allem steckt und versucht sie einzuschuechter n, damit sie zu ihm zurueckkehrt. Doch dann sieht sie immer wieder ein kleines b londes Maedchen, welches ihrer verstorbenen Tochter aehnlich sieht.
Julia faengt an, Nachforschungen ueber die frueheren Hausbesitzer anzustellen. Sie findet he raus, dass in dem Haus eine Frau gelebt hat, deren Tochter als kleines Maedchen gestorben ist. Julia erkennt die Parallelen zu dem Schicksal in ihrem eigenen Le ben. Sie muss herausfinden, was in der Vergangenheit geschehen ist, um ihren Fri eden zu finden und den Geist des toten Maedchens loszuwerden. Magnus und seine S chwester glauben ihr nicht und sind ueberzeugt, dass Julia den Tod ihrer Tochter nicht verkraftet hat und nun den Verstand verliert.
Sie wollen Julia dazu bring en, das Haus zu verlassen und planen, sie unter aerztliche Aufsicht zu stellen, nicht zuletzt auch um an ihr Geld zu kommen. An extremely talented, brilliant writer, but she was a phony character, I'm sorry to say. My relations with her were very guarded and ended in pure hatred. The film Julia was based on the "Julia" chapter of Pentimento. On June 30, , as the film was going into production, Hellman wrote about the screenplay to its producer: This is not a work of fiction and certain laws have to be followed for that reason Your major difficulty to me is the treatment of Lillian as the leading character.
Haunting Julia - Wikipedia
The reason is simple: And nobody and nothing can change that unless you write a fictional and different story Isn't it necessary to know that I am a Jew? That, of course, is what mainly made the danger. In a television interview with Dick Cavett, author Mary McCarthy , long Hellman's political adversary and the object of her negative literary judgment, said of Hellman that "every word she writes is a lie, including 'and' and 'the'.
Cavett said he sympathized more with McCarthy than Hellman in the lawsuit, but "everybody lost" as a result of it. She claimed to be the model for the character named Julia in Hellman's memoirs, Pentimento , and in the movie Julia based on a chapter of that book. Hellman, who never met Gardiner, said that "Julia" was somebody else. Gardiner wrote that, while she never met Hellman, she had often heard about her from her friend Wolf Schwabacher , who was Hellman's lawyer. By Gardiner's account, Schwabacher had visited Gardiner in Vienna.
Thirty years of horror: The Haunting of Julia (1977)
They rented half of it to Wolf and Ethel Schwabacher for more than ten years. Many people believe that Hellmann based her story on Gardiner's life. Gardiner's editor cited the unlikelihood that there were two millionaire American women who were medical students in Vienna in the late s. The response varied from positive to mixed, usually praising the period setting and acting, but criticizing the script and failure to adequately portray the friendship between the two leads. Variety gave it a positive review, praising Jane Fonda and Vanessa Redgrave as being "dynamite together on the screen," Richard Roth's production as "handsome and tasteful," as well as the period costumes and production design.
Roger Ebert called the film a "fascinating story," but felt the movie suffered from being told by Lillian Hellman's point of view. TV Guide gave it three out of five stars and declared it "Beautifully crafted, nominated for eleven Academy Awards, a big hit at the box office--and a dramatic dud If you like red nail polish, faux-cynicism, painfully brave smiles and European train stations, Julia may be your kind of cocktail.
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After Redgrave was nominated for Best Supporting Actress, the Jewish Defense League objected to her nomination because she had narrated and helped fund a documentary entitled The Palestinian , which supported a Palestinian state. They also picketed the Oscar ceremony. From Wikipedia, the free encyclopedia. Theatrical release poster by Richard Amsel. Retrieved December 16, Archived from the original on Films directed by Fred Zinnemann. Gladiator The Lord of the Rings: Retrieved from " https: Views Read Edit View history.
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