Gothic Fiction

"Written with an undergraduate audience in mind, this text offers a synthesis of the main topics of Gothic interest and clearly argued summaries of critical debate. It signals its difference from recent psychoanalytic readings of Gothic and argues instead for a more complex, multilayered approach via an historicist reading of gothic fiction. Illustrated with ten black and white plates and including an up-to-date bibliography, this will be an ideal text for all those with an interest in the Gothic."--BOOK JACKET.

Gothic as a form of fiction-making has played a major role in Western culture since the late eighteenth century. Here fourteen world-class experts on the Gothic provide thorough and revealing accounts of this haunting-to-horrifying type of fiction from the 1760s (the decade of The Castle of Otranto, the first so-called Gothic story ) to the end of the twentieth century (an era haunted by filmed and computerized Gothic simulations). Along the way, these essays explore the connections of Gothic fictions to political and industrial revolutions, the realistic novel, the theatre, Romantic and post-Romantic poetry, nationalism and racism from Europe to America, colonized and post-colonial populations, the rise of film and other visual technologies, the struggles between high and popular culture, changing psychological attitudes towards human identity, gender and sexuality, and the obscure lines between life and death, sanity and madness. The volume also includes a chronology and guides to further reading.

In this “miraculous and thrilling” (Diane Setterfield, #1 New York Times bestselling author) mystery for fans of The Essex Serpent and The Book of Speculation, Victorian London comes to life as an intrepid female sleuth wades through a murky world of collectors and criminals to recover a remarkable child. Bridie Devine—flame-haired, pipe-smoking detective extraordinaire—is confronted with the most baffling puzzle yet: the kidnapping of Christabel Berwick, secret daughter of Sir Edmund Athelstan Berwick, and a peculiar child whose reputed supernatural powers have captured the unwanted attention of collectors in this age of discovery. Winding her way through the sooty streets of Victorian London, Bridie won’t rest until she finds the young girl, even if it means unearthing secrets about her past that she’d rather keep buried. Luckily, her search is aided by an enchanting cast of characters, including a seven-foot-tall housemaid; a melancholic, tattoo-covered ghost; and an avuncular apothecary. But secrets abound in this foggy underworld where nothing is quite what it seems. Blending darkness and light, Things in Jars is a stunning, “richly woven tapestry of fantasy, folklore, and history” (Booklist, starred review) that explores what it means to be human in inhumane times.

Dr Howard uses Bakhtin's concepts of heteroglossia and dialogism in specific historical analyses of key works of the genre. Her discussions of Ann Radcliffe's Mysteries of Udolpho, Matthew Lewis's The Monk, Jane Austen's Northanger Abbey, and Mary Shelley's Frankenstein demonstrate that the discursive ambiguity of these novels is not inherently subversive, but that the political force of particular discourses is contingent upon their interaction with other discourses in the reading process.

Provides a new account of the emergence of Irish gothic fiction in mid-eighteenth century This book provides a robustly theorised and thoroughly historicised account of the 'beginnings' of Irish gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. The main argument the book makes is that the Irish gothic should be read in the context of the split in Irish Anglican public opinion that opened in the 1750s, and seen as a fictional instrument of liberal Anglican opinion in a changing political landscape. By providing a fully historicized account of the beginnings of the genre in Ireland, the book also addresses the theoretical controversies that have bedevilled discussion of the Irish gothic in the 1980s, 1990s and 2000s. The book gives ample space to the critical debate, and rigorously defends a reading of the Irish gothic as an Anglican, Patriot tradition. This reading demonstrates the connections between little-known Irish gothic fictions of the mid-eighteenth century (The Adventures of Miss Sophia Berkley and Longsword), and the Irish gothic tradition more generally, and also the gothic as a genre of global significance.

A #1 New York Times bestseller, The Thirteenth Tale is part contemporary, part historical with mysterious threads about family secrets and the magic of books and storytelling weaving the two together. All children mythologize their birth . . . So begins the prologue of reclusive author Vida Winter's collection of stories, which are as famous for the mystery of the missing thirteenth tale as they are for the delight and enchantment of the twelve that do exist. The enigmatic Winter has spent six decades creating various outlandish histories for herself. Now old and ailing, she at last wants to tell the truth about her extraordinary past. She summons biographer Margaret Lea, a young woman who is struck by a very curious parallel between Winter's life and her own. As Vida exposes the history she meant to bury for good, Margaret is mesmerized. It is a tale of gothic strangeness, of a remote estate, feral children, a governess, a ghost, and a devastating fire. In this love letter to reading, Diane Setterfield will keep you guessing, make you wonder, move you to tears and laughter and, in the end, deposit you breathless yet satisfied back upon the shore of your everyday world.

This book revives and revitalises the literary Gothic in the hands of contemporary women writers. It makes a scholarly, lively and convincing case that the Gothic makes horror respectable, and establishes contemporary women’s Gothic fictions in and against traditional Gothic. The book provides new, engaging perspectives on established contemporary women Gothic writers, with a particular focus on Angela Carter, Margaret Atwood and Toni Morrison. It explores how the Gothic is malleable in their hands and is used to demythologise oppressions based on difference in gender and ethnicity. The study presents new Gothic work and new nuances, critiques of dangerous complacency and radical questionings of what is safe and conformist in works as diverse as Twilight (Stephenie Meyer) and A Girl Walks Home Alone (Ana Lily Amirpur), as well as by Anne Rice and Poppy Brite. It also introduces and critically explores postcolonial, vampire and neohistorical Gothic and women’s ghost stories.