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The King in Yellow (English Edition) [Kindle Edition]

Robert W. (Robert William) Chambers
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This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.


  • Format: Kindle Edition
  • Dateigröße: 308 KB
  • Seitenzahl der Print-Ausgabe: 203 Seiten
  • ISBN-Quelle für Seitenzahl: 1463705034
  • Gleichzeitige Verwendung von Geräten: Keine Einschränkung
  • Verkauf durch: Amazon Media EU S.à r.l.
  • Sprache: Englisch
  • ASIN: B00847UYWA
  • Text-to-Speech (Vorlesemodus): Aktiviert
  • X-Ray:
  • Word Wise: Aktiviert
  • Verbesserter Schriftsatz: Nicht aktiviert
  • Durchschnittliche Kundenbewertung: 4.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: #4.626 Kostenfrei in Kindle-Shop (Siehe Top 100 - Kostenfrei in Kindle-Shop)

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Die hilfreichsten Kundenrezensionen auf (beta) 3.6 von 5 Sternen  138 Rezensionen
6 von 6 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Charming 28. März 2014
Von A. McCrea - Veröffentlicht auf
Format:Kindle Edition|Verifizierter Kauf
This is a book far ahead of its time. Written and published in the 19th century, it combines fantasy, science fiction and narrative devices such as misdirection, unreliable narrators and the like, even what we would now call "metafiction." In addition to being fascinating as an historical document it's a great book on it's own. It is not a novel, exactly, but a series of interrelated stories, though the tone is such that it reads somewhat like a unitary work. To repeat myself, it's fascinating, on many levels. Highly recommended.
9 von 11 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen It's about the Oscar Wilde affair 27. September 2012
Von Phebe - Veröffentlicht auf
Format:Kindle Edition|Verifizierter Kauf
This series of stories is an early science-fiction/horror work first published in 1895. It was recommended by Stephen King in his history of horror, "Danse Macabre." Despite its early date, the series is certainly science fiction: the first story projects the setting to 1920, and reviews the "history" till then, getting it all wrong, of course, but interestingly so. The second story posits the invention of a way to create sculpture instantly from life forms, much as photography had usurped realistic painting in that day, and reminds one of the 3-D printers just showing up now.
"The King in Yellow" is also certainly horror fiction. The first stories are framed by account of a morally appalling play of that name, which drives everyone mad who reads it. The play has widely been banned and criticized from pulpits and boards of review everywhere. The key to this book is that 1895 was the date of Oscar Wilde's trial for perversion, and "the King in Yellow" is surely a reference to Wilde's play "Salome," which was also widely banned and criticized for its moral decadence. The principals in these stories all know each other and are all artists or writers, like Wilde and his friends. A gravely deformed man, apparently deformed by the exigiencies of law, is a mad character in the lead story named Wilde, and he has a cat that alternately attacks him and lounges on his lap purring: the reference is presumably to Wilde's unstable lover, Lord Alfred Douglas, who was responsible for most of Wilde's problems and his eventual imprisonment and death not long after release. (See the excellent modern biography of this remarkable character, "Bosie" by Douglas Murray.)
"The King in Yellow" therefore fits in with a then-literary fashion of revulsion toward the Wilde fin-de-siecle decadence, especially after Wilde's trial, when even his famous illustrator of "Salome," Aubrey Beardsley, cut him dead in Paris when Beardsley happened to walk past a café where Wilde was sitting. (See the brilliant and definitive modern biography "The Secret Life of Oscar Wilde" by Neil McKenna.) "The Green Carnation" was another such work, published anonymously and variously attributed to men who had travelled with Bosie, at least, and had heard libelous stories of misbehavior with young boys.
"The Green Carnation" doesn't stand on its own: it's a roman à clef and you need to know the key. "The King in Yellow" does stand on its own, however, being a creepy series of horror stories with surprisingly modern notes of science fiction. After the framed stories, there is a charming if traditional story involving falcons, and then some psychological thrillers not related to the eponymous series.
6 von 7 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Brilliant Beginning, Superfluous End 26. November 2012
Von Brett J. Talley - Veröffentlicht auf
Format:Kindle Edition|Verifizierter Kauf
The King in Yellow is one of the most brilliant--and one of the most disappointing--collections of short stories I have ever read. The first five stories were tremendous, transcendent, stunning. I could not look away. The last few stories were woefully disappointing. It is clear to me that they were added solely to fill out a word count. It's disappointing, but it does not diminish the power of those five stories. Pick the book up and read those stories. You will not be disappointed.
16 von 22 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Challenging Read. If you liked True Detective, you may not necessarily like this book. 9. Mai 2014
Von Computer Guy - Veröffentlicht auf
Format:Kindle Edition|Verifizierter Kauf
While True Detective sent many people to this book, this is not a book written in a contemporary style. Much like A Brief History of Time, this will be a book many people own and few have read. I doubt most people make it through one story.
It's an okay book, filled with atmosphere, foreboding and unease. The influences of Poe and Bierce are easy to see, as is the influencing of Lovecraft, Clark Ashton Smith, and The Arkham House authors and the trickle down to modern horror writers.
Like Lovecraft, the prose is melodramatic, bombastic, bordering on hysterical highs of existential terror, and filled with non-resolutions and hints of humanity's minimal awareness of the horrors of the universe. Unlike Lovecraft, it is mostly boring.
It is the literary equivalent of Citizen Kane: one can see the amazing effects it has had on all following authors, without necessarily being enjoyable in and of itself. Blasphemy, I know, but Kane bores me to tears. The difference between Kane and the new critical darling, Vertigo, is the difference between watching paint dry and being involved in a paint ball match. So too with The King in Yellow: it's a slog to read for enjoyment but a treasure trove for readers who want to play find-the-reference (for True Detective fans) or find-the-author-that-borrowed for readers of fantasy, Science Fiction and horror.
Of note, the last several stories in the collection would be difficult to categorize as genre fiction, and wind up being full of sound and fury, signifying nothing.
If you want to read for enjoyment, I would look instead to Ambrose Bierce, who created Carcosa, but who has a contemporary feel or Lovecraft or his imitators. Bierce's An Occurrence at Owl Creek bridge influenced modern cinema so much so that m night shyamalan's oeuvre could be summed up as "wants to be Bierce of film writing." Bierce's non-fiction Devil's Dictionary is as fresh today as it was 110 years ago: happiness is “an agreeable sensation arising from contemplating the misery of another.”
In any case, buy the book not for its prose but for a trophy to be placed upon the shelf to indicate you are hip and in the know and be comfortable in the thought no one who wants to discuss it with you will have read it either.
2 von 2 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen In the same vein as his contemporaries. 14. April 2013
Von TheBlackVeil - Veröffentlicht auf
Format:Kindle Edition|Verifizierter Kauf
I don't agree entirely with the reviews of this work by some of Chambers' contemporaries (that is, that he proposes fantastic concepts but fails miserably in doing so), however, like many of his contemporaries, the reads can feel somewhat dry or burdensome. Not so much so that it totally detracts from the reading of his shorts, but enough that the first few might take you longer than a normal short to plow through, simply because you're not sure when it's going to "pick up," or start flowing better.

The ideas are superb (plays that are the epitome of art and, thus, drive men mad) and if you give yourself away to what horror was at the time (read: suspense, tension, the tightening of the string, NOT just campy shock value moments), you can't help but enjoy the stories.

The first is particularly impressive.
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