This article argues that the much-anthologised ghost story ‘The Beckoning Fair One’ (1911) by Oliver Onions is usefully read as engaging with a number of contemporary anxieties centred on the Edwardian male writer. Onions stresses the economic and psychological cost to his protagonist, Oleron, of remaining true to his artistic conscience in an increasingly commercial publishing environment. I consider shifting ideas about gender roles that include the promotion of an ‘imperial’ masculinity of a type antithetical to the artistic identity. I also explore Oleron's attitude towards an admirer, a New Woman-type journalist and contrast her with a spectral femme fatale who represents for him a muse from an earlier time. This belief in the ghost leads to a breakdown which I frame in terms of Edwardian models of manliness and hysteria. This is a novel approach insofar as the few discussions of the story to date tend to focus on its hallucinatory qualities rather than Onions’ engagement with debates of the day.

中文翻译：

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“让悲惨的人与自己的影子搏斗”：奥利弗·洋葱 (Oliver Onions) 的《招手公平》中陷入困境的爱德华时代男性作家

这篇文章认为，奥利弗·洋葱 (Oliver Onions) 所著的被大量选集的鬼故事《招手的公平》(1911) 被解读为与以爱德华时代男性作家为中心的许多当代焦虑有关。洋葱强调了他的主人公奥莱隆在日益商业化的出版环境中保持艺术良知的经济和心理成本。我考虑改变关于性别角色的观念，包括提倡一种与艺术身份对立的“帝国”男子气概。我还探讨了奥莱隆对崇拜者、新女性型记者的态度，并将她与代表他早期缪斯的幽灵蛇蝎美人进行对比。这种对鬼魂的信念导致崩溃，我根据爱德华时代的男子气概和歇斯底里的模型来构建这种崩溃。