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Gothic fiction

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fortnight battle pass l)|Ulysses]] (1922), the living are transformed into ghosts, which points to an Ireland in stasis at the time and a history of cyclical trauma from the Great Famine in the 1840s through to the current moment in the text.[1] The way Ulysses uses Gothic tropes such as ghosts and hauntings while removing the supernatural elements of 19th-century Gothic fiction indicates a general form of modernist Gothic writing in the first half of the 20th century.

Pulp magazines such as Weird Tales reprinted and popularized Gothic horror from the previous century.

In America, pulp magazines such as Weird Tales reprinted classic Gothic horror tales from the previous century by authors like Poe, Arthur Conan Doyle, and Edward Bulwer-Lytton, and printed new stories by modern authors featuring both traditional and new horrors.[2] The most significant of these was H. P. Lovecraft, who also wrote a conspectus of the Gothic and supernatural horror tradition in his Supernatural Horror in Literature (1936), and developed a Mythos that would influence Gothic and contemporary horror well into the 21st century. Lovecraft's protégé, Robert Bloch, contributed to Weird Tales and penned Psycho (1959), which drew on the classic interests of the genre. From these, the Gothic genre per se gave way to modern horror fiction, regarded by some literary critics as a branch of the Gothic,[3] although others use the term to cover the entire genre.

The Romantic strand of Gothic was taken up in Daphne du Maurier's Rebecca (1938), which is seen by some to have been influenced by Charlotte Brontë's Jane Eyre.[4] Other books by du Maurier, such as Jamaica Inn (1936), also display Gothic tendencies. Du Maurier's work inspired a substantial body of "female Gothics," concerning heroines alternately swooning over or terrified by scowling Byronic men in possession of acres of prime real estate and the appertaining droit du seigneur.

Southern Gothic

Main article: Southern Gothic

The genre also influenced American writing, creating a Southern Gothic genre that combines some Gothic sensibilities, such as the grotesque, with the setting and style of the Southern United States. Examples include Erskine Caldwell, William Faulkner, Carson McCullers, John Kennedy Toole, Manly Wade Wellman, Eudora Welty, V. C. Andrews, Tennessee Williams, Truman Capote, Flannery O'Connor, Davis Grubb, Anne Rice, Harper Lee, and Cormac McCarthy.[5]

New Gothic romances

Mass-produced Gothic romances became popular in the 1950s, 1960s, and 1970s with authors such as Phyllis A. Whitney, Joan Aiken, Dorothy Eden, Victoria Holt, Barbara Michaels, Mary Stewart, Alicen White, and Jill Tattersall. Many featured covers show a terror-stricken woman in diaphanous attire in front of a gloomy castle, often with a single-lit window. Many were published under the Paperback Library Gothic imprint and marketed to female readers. While the authors were mostly women, some men wrote Gothic romances under female pseudonyms: the prolific Clarissa Ross and Marilyn Ross were pseudonyms of the male Dan Ross; Frank Belknap Long published Gothics under his wife's name, Lyda Belknap Long; the British writer Peter O'Donnell wrote under the pseudonym Madeleine Brent. After the gothic romance boom faded away in the early 1990s, very few publishers embraced the term for mass market romance paperbacks apart from imprints like Love Spell, which was discontinued in 2010.[6] However, in recent years the term "Gothic Romance" is being used to describe both old and new works of Gothic fiction. [7]

Contemporary Gothic

For modern horror associated with the goth scene, see Goth subculture § Books and magazines.

Gothic fiction continues to be extensively practised by contemporary authors.

Many modern writers of horror or other types of fiction exhibit considerable Gothic sensibilities – examples include Anne Rice, Susan Hill, Billy Martin, Silvia Moreno-Garcia, Carmen Maria Machado, Neil Gaiman, and Stephen King.[8][9] Thomas M. Disch's novel The Priest (1994) was subtitled A Gothic Romance and partly modeled on Matthew Lewis' The Monk.[10][11][12] Many writers such as Billy Martin, Stephen King, Brett Easton Ellis, and Clive Barker have focused on the body's surface and blood's visuality.[13] England's Rhiannon Ward is among the recent writers of Gothic fiction. Catriona Ward won a British Fantasy Award for Best Horror Novel for her gothic novel Rawblood in 2016.

Contemporary American writers in the tradition include Joyce Carol Oates with such novels as Bellefleur and A Bloodsmoor Romance, Toni Morrison with her radical novel Beloved, about a slave-woman whose murdered baby haunts her, Raymond Kennedy with his novel Lulu Incognito,[14] Donna Tartt with her postmodern gothic horror novel The Secret History,[15] Ursula Vernon with her Edgar Allan Poe-inspired novel What Moves the Dead, Danielle Trussoni with her "gothic extravaganza" The Ancestor, [16] and filmmaker Anna Biller with Bluebeard's Castle, a throwback to 18th-century Gothic novels and 1960s dime-store romances. [17] British writers who have continued in the Gothic tradition include Sarah Waters with her haunted house novel The Little Stranger,[18] Diane Setterfield with her quintessentially Gothic novels The Thirteenth Tale[19] and Once Upon a River, Helen Oyeyemi with her experimental novel White is for Witching,[20] Sarah Perry with her novels Melmoth and The Essex Serpent,[21] and Laura Purcell with her historical novels The Silent Companions and The Shape of Darkness.[22]

Several Gothic traditions have also developed in New Zealand (with the subgenre referred to as New Zealand Gothic or Maori Gothic)[23] and Australia (known as Australian Gothic). These explore everything from the multicultural natures of the two countries[24] to their natural geography.[25] Novels in the Australian Gothic tradition include Kate Grenville's The Secret River and the works of Kim Scott.[26] An even smaller genre is Tasmanian Gothic, set exclusively on the island, with prominent examples including Gould's Book of Fish by Richard Flanagan and The Roving Party by Rohan Wilson.[27][28][29][30] Another Australian author, Kate Morton, has penned several homages to classic gothic fiction, among them The Distant Hours and The House at Riverton.[31]

Southern Ontario Gothic applies a similar sensibility to a Canadian cultural context. Robertson Davies, Alice Munro, Barbara Gowdy, Timothy Findley, and Margaret Atwood have all produced notable exemplars of this form. Another writer in the tradition was Henry Farrell, best known for his 1960 Hollywood horror novel What Ever Happened To Baby Jane? Farrell's novels spawned a subgenre of "Grande Dame Guignol" in the cinema, represented by such films as the 1962 film based on Farrell's novel, which starred Bette Davis versus Joan Crawford; this subgenre of films was dubbed the "psycho-biddy" genre.

The many Gothic subgenres include a new "environmental Gothic" or "ecoGothic".[32][33][34] It is an ecologically aware Gothic engaged in "dark nature" and "ecophobia."[35] Writers and critics of the ecoGothic suggest that the Gothic genre is uniquely positioned to speak to anxieties about climate change and the planet's ecological future.[36]

Among the bestselling books of the 21st century, the YA novel Twilight by Stephenie Meyer is now increasingly identified as a Gothic novel, as is Carlos Ruiz Zafón's 2001 novel The Shadow of the Wind.[37]

Other media

Literary Gothic themes have been translated into other media.

There was a notable revival in 20th-century Gothic horror cinema, such as the classic Universal monsters films of the 1930s, Hammer Horror films, and Roger Corman's Poe cycle.[38]

In Hindi cinema, the Gothic tradition was combined with aspects of Indian culture, particularly reincarnation, for an "Indian Gothic" genre, beginning with Mahal (1949) and Madhumati (1958).[39]

The 1960s Gothic television series Dark Shadows borrowed liberally from Gothic traditions, with elements like haunted mansions, vampires, witches, doomed romances, werewolves, obsession, and madness.

The early 1970s saw a Gothic Romance comic book mini-trend with such titles as DC Comics' The Dark Mansion of Forbidden Love and The Sinister House of Secret Love, Charlton Comics' Haunted Love, Curtis Magazines' Gothic Tales of Love, and Atlas/Seaboard Comics' one-shot magazine Gothic Romances.

Twentieth-century rock music also had its Gothic side. Black Sabbath's 1970 debut album created a dark sound different from other bands at the time and has been called the first-ever "goth-rock" record.[40]

However, the first recorded use of "gothic" to describe a style of music was for The Doors. Critic John Stickney used the term "gothic rock" to describe the music of The Doors in October 1967 in a review published in The Williams Record.[41] The album recognized as initiating the goth music genre is Unknown Pleasures by the band Joy Division. However, earlier bands such as The Velvet Underground also contributed to the genre's distinctive style. Themes from Gothic writers such as H. P. Lovecraft were used among Gothic rock and heavy metal bands, especially in black metal, thrash metal (Metallica's The Call of Ktulu), death metal, and gothic metal. For example, in his compositions, heavy metal musician King Diamond delights in telling stories full of horror, theatricality, Satanism, and anti-Catholicism.[42]

In role-playing games (RPG), the pioneering 1983 Dungeons & Dragons adventure Ravenloft instructs the players to defeat the vampire Strahd von Zarovich, who pines for his dead lover. It has been acclaimed as one of the best role-playing adventures ever and even inspired an entire fictional world of the same name. The World of Darkness is a gothic-punk RPG line set in the real world, with the added element of supernatural creatures such as werewolves and vampires. In addition to its flagship title Vampire: The Masquerade, the game line features a number of spin-off RPGs such as Werewolf: The Apocalypse, Mage: The Ascension, Wraith: The Oblivion, Hunter: The Reckoning, and Changeling: The Dreaming, allowing for a wide range of characters in the gothic-punk setting. My Life with Master uses Gothic horror conventions as a metaphor for abusive relationships, placing the players in the shoes of minions of a tyrannical, larger-than-life Master.[43]

Various video games feature Gothic horror themes and plots. The Castlevania series typically involves a hero of the Belmont lineage exploring a dark, old castle, fighting vampires, werewolves, Frankenstein's Creature, and other Gothic monster staples, culminating in a battle against Dracula himself. Others, such as Ghosts 'n Goblins, feature a camper parody of Gothic fiction. 2017's Resident Evil 7: Biohazard, a Southern Gothic reboot to the survival horror video game involves an everyman and his wife trapped in a derelict plantation and mansion owned by a family with sinister and hideous secrets and must face terrifying visions of a ghostly mutant in the shape of a little girl. This was followed by 2021's Resident Evil Village, a Gothic horror sequel focusing on an action hero searching for his kidnapped daughter in a mysterious Eastern European village under the control of a bizarre religious cult inhabited by werewolves, vampires, ghosts, shapeshifters, and other monsters. The Devil May Cry series stands as an equally parodic and self-serious franchise, following the escapades, stunts and mishaps of series protagonist Dante as he explores dingy demonic castles, ancient occult monuments and ruined urban landscapes on his quest to avenge his mother and brother. Gothic literary themes appear all throughout the story, such as how the past physically creeps into the ambiguously modern setting, recurrent imagery of doubles (notably regarding Dante and his twin brother), and the persisting melodramas associated with Dante's father's fame, absence, and demonic heritage. Beginning with Devil May Cry 3: Dante's Awakening, Female Gothic elements enter the series as deuteragonist Lady works through her own revenge plot against her murderous father, with the oppressive and consistent emotional and physical abuse instigated by a patriarchal figure serving as a heavy, understated counterweight to the extravagance of the rest of the story. Finally, Bloodborne takes place in the decaying Gothic city of Yharnam, where the player must face werewolves, shambling mutants, vampires, witches, and numerous other Gothic staple creatures. However, the game takes a marked turn midway shifting from gothic to Lovecraftian horror.

Popular tabletop card game Magic: The Gathering, known for its parallel universe consisting of "planes," features the plane known as Innistrad. Its general aesthetic is based on northeast European Gothic horror. Innistard's common residents include cultists, ghosts, vampires, werewolves, and zombies.

Modern Gothic horror films include Sleepy Hollow,[44] Interview with the Vampire,[45] Underworld,[46] The Wolfman,[47] From Hell,[48] Dorian Gray,[49] Let the Right One In,[50] The Woman in Black,[51] Crimson Peak,[52] The Little Stranger,[53] and The Love Witch.[54]

The TV series Penny Dreadful (2014–2016) brings many classic Gothic characters together in a psychological thriller set in the dark corners of Victorian London.

The Oscar-winning Korean film Parasite has also been called Gothic – specifically, Revolutionary Gothic.[55]

Recently, the Netflix original The Haunting of Hill House and its successor The Haunting of Bly Manor have integrated classic Gothic conventions into modern psychological horror.[56]

Scholarship

Educators in literary, cultural, and architectural studies appreciate the Gothic as an area that facilitates investigation of the beginnings of scientific certainty. As Carol Senf has stated, "the Gothic was... a counterbalance produced by writers and thinkers who felt limited by such a confident worldview and recognized that the power of the past, the irrational, and the violent continue to sway in the world."[57] As such, the Gothic helps students better understand their doubts about the self-assurance of today's scientists. Scotland is the location of what was probably the world's first postgraduate program to consider the genre exclusively: the MLitt in the Gothic Imagination at the University of Stirling, first recruited in 1996.[58]

See also

Notes

  1. ^ Wurtz, James F. (2005). "Scarce More a Corpse: Famine Memory and Representations of the Gothic in Ulysses". Journal of Modern Literature. 29: 102–117. doi:10.2979/JML.2005.29.1.102. S2CID 161368941. ProQuest 201671206.
  2. ^ Goulart (1986)
  3. ^ (Wisker (2005) pp232-33)
  4. ^ Yardley, Jonathan (16 March 2004). "Du Maurier's 'Rebecca,' A Worthy 'Eyre' Apparent". The Washington Post.
  5. ^ Skarda and Jaffe (1981), pp. 418–456.)
  6. ^ "Open Library On Internet Archive".
  7. ^ "What Is Gothic Romance? 13 Books That Will Enchant Your Inner Gothic Fan". Book Riot.
  8. ^ Skarda and Jaffe (1981) pp. 464–465 and 478.
  9. ^ Davenport-Hines (1998) pp. 357-358).
  10. ^ Linda Parent Lesher, The Best Novels of the Nineties: A Reader's Guide. McFarland, 2000 ISBN 0-7864-0742-5, p. 267.
  11. ^ "This Haunting New Bestseller Is Part du Maurier, Part del Toro". Slate.
  12. ^ "Carmen Maria Machado Has Invented a New Genre: the Gothic Memoir". Electric Literature.
  13. ^ Stephanou, Aspasia, Reading Vampire Gothic Through Blood, Palgrave, 2014.
  14. ^ "The American Gothic – Digital Collections for the Classroom". Retrieved 2023-05-03.
  15. ^ "The Gothic Terror of Donna Tartt's The Secret History". Horror Obsessive.
  16. ^ "The Ancestor: Passion Trips Reason in this Gothic Extravaganza". Kirkus.
  17. ^ "Anna Biller on How the Gothic Gives Voice to Women's Pleasure—and Pain".
  18. ^ "A Review of The Little Stranger—The Novel".
  19. ^ "The Thirteenth Tale: Gothic Storytelling at its Best".
  20. ^ "GOTHIC AMBIGUITY: HELEN OYEYEMI'S WHITE IS FOR WITCHING". Blackgate.
  21. ^ "The Essex Serpent by Sarah Perry review – a compulsive novel of ideas". The Guardian.
  22. ^ "Book Review: The Silent Companions by Laura Purcell". The BiblioSanctum.
  23. ^ Kavka, Misha (16 October 2014). The Gothic and the everyday: living Gothic. Springer. pp. 225–240. ISBN 978-1-137-40664-4.
  24. ^ "Hello Darkness: New Zealand Gothic". robertleonard.org. Retrieved 26 July 2020.
  25. ^ "Wide Open Fear: Australian Horror and Gothic Fiction". This Is Horror. 10 January 2013. Retrieved 26 July 2020.
  26. ^ Doolan, Emma. "Australian Gothic: from Hanging Rock to Nick Cave and Kylie, this genre explores our dark side". The Conversation. Retrieved 26 July 2020.
  27. ^ Sussex, Lucy (June 27, 2019). "Rohan Wilson's audacious experiment with climate-change fiction". The Sydney Morning Herald. The result is a book that while with one foot in Tasmanian Gothic, does represent a personal innovation.
  28. ^ Holgate, Ben (2014). "The Impossibility of Knowing: Developing Magical Realism's Irony in Gould's Book of Fish". Journal of the Association for the Study of Australian Literature (JASAL). 14 (1). ISSN 1833-6027. On one level, the book is a picaresque romp through colonial Tasmania in the early 1800s based on the not very reliable reminiscences of Gould, a convicted forger, painter of fish and inveterate raconteur. On another level, the novel is a Gothic horror tale in its reimagining of a violent, brutal and oppressive penal colony whose militaristic regime subjugated both the imported and original inhabitants.
  29. ^ Britten, Naomi; Trilogy, Mandala; Bird, Carmel (2010). "Re-imagining the Gothic in Contemporary Australia: Carmel Bird Discusses Her Mandala Trilogy". Antipodes. 24 (1): 98–103. ISSN 0893-5580. JSTOR 41957860 – via JSTOR. Richard Flanagan, Gould's Book of Fish, would have to be Gothic. Tasmanian history is pro-foundly dark and dreadful.
  30. ^ Derkenne, Jamie (2017). "Richard Flanagan's and Alexis Wright's Magic Nihilism". Antipodes. 31 (2): 276–290. doi:10.13110/antipodes.31.2.0276. ISSN 0893-5580. JSTOR 10.13110/antipodes.31.2.0276. Flanagan in Gould's Book of Fish and Wanting also seeks to interrogate assumed complacency through a strangely comic and dark rerendering of reality to draw out many truths, such as Tasmania's treatment of its Indigenous peoples.
  31. ^ "The Distant Hours".
  32. ^ says, Max (November 23, 2014). "The Ecogothic".
  33. ^ Hillard, Tom. "'Deep Into That Darkness Peering': An Essay on Gothic Nature". Interdisciplinary Studies in Literature and Environment, 16 (4), 2009.
  34. ^ Smith, Andrew and William Hughes. "Introduction: Defining the ecoGothic" in EcoGothic. Andrew Smith and William Hughes, eds. Manchester University Press. 2013.
  35. ^ Simon Estok, "Theorizing in a Space of Ambivalent Openness: Ecocriticism and Ecophobia", Literature and Environment, 16 (2), 2009; Simon Estok, The Ecophobia Hypothesis, Routledge, 2018.
  36. ^ See "ecoGothic" in William Hughes, Key Concepts in the Gothic. Edinburgh University Press, 2018: 63.
  37. ^ Edwards, Justin; Monnet, Agnieszka (15 February 2013). The Gothic in Contemporary Literature and Popular Culture: Pop Goth. Taylor and Francis. ISBN 9781136337888.
  38. ^ Davenport-Hines (1998) pp355-8)
  39. ^ Mishra, Vijay (2002). Bollywood cinema: temples of desire. Routledge. pp. 49–57. ISBN 0-415-93014-6.
  40. ^ Baddeley (2002) p. 264.
  41. ^ Stickney, John (24 October 1967). "Four Doors to the Future: Gothic Rock Is Their Thing". The Williams Record. Archived from the original on 4 May 2013. Retrieved 11 March 2013.
  42. ^ Baddeley (2002) p. 265.
  43. ^ Darlington, Steve (8 September 2003). "Review of My Life with Master". RPGnet. Retrieved 9 July 2019.
  44. ^ "SLEEPY HOLLOW: A MODERN DAY GOTHIC CLASSIC". Film Obsessive.
  45. ^ "Interview With The Vampire 1994 Reviewed". Horror Movies Reviewed.
  46. ^ "Looking Back on the Gothic Action-Horror of the 'Underworld' Franchise". Bloody Disgusting.
  47. ^ "Does she hath charms to soothe the savage breast?". RogerEbert.com.
  48. ^ "From Hell (2001): Albert and Allen Hughes Conventional Gothic Thriller, Starring Johnny Depp". Emanuel Levy.
  49. ^ "[Review] Dorian Gray". The Film Stage.
  50. ^ "Let the Right One In". The Guardian.
  51. ^ "A haunted house with its own sound effects". RoberEbert.com.
  52. ^ "A 'FASCINATING CONUNDRUM OF A MOVIE': GOTHIC, HORROR AND CRIMSON PEAK". Revenant Journal.
  53. ^ "The Little Stranger". RogerEbert.com.
  54. ^ "Enamoured with 'The Love Witch'". Generally Gothic.
  55. ^ Southard, Connor (20 November 2019). "'Parasite' and the rise of Revolutionary Gothic". theoutline.com. Retrieved 2 March 2020.
  56. ^ Romain, Lindsey (October 5, 2020). "THE HAUNTING OF BLY MANOR Is a Beautiful Gothic Romance". Nerdist. Retrieved December 29, 2020.
  57. ^ Carol Senf, "Why We Need the Gothic in a Technological World," in: Humanistic Perspectives in a Technological World, ed. Richard Utz, Valerie B. Johnson, and Travis Denton (Atlanta: School of Literature, Media, and Communication, Georgia Institute of Technology, 2014), pp. 31–32.
  58. ^ Hughes, William (2012). Historical Dictionary of Gothic Literature. Scarecrow Press.

References

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