Gothic fiction: Difference between revisions

The first work to call itself Gothic was [[Horace Walpole]]'s 1764 novel ''[[The Castle of Otranto]]'', later subtitled "A Gothic Story". Subsequent 18th-century contributors included [[Clara Reeve]], [[Ann Radcliffe]], [[William Beckford (novelist)|William Thomas Beckford]], and [[Matthew Gregory Lewis|Matthew Lewis]]. The Gothic influence continued into the early 19th century; works by the [[Romantic poetry|Romantic poets]], like [[Samuel Taylor Coleridge]] and [[Lord Byron]], and novelists such as [[Mary Shelley]], [[Charles Maturin]], [[Walter Scott]] and [[E. T. A. Hoffmann]] frequently drew upon gothic motifs in their works.

Gothic fiction is characterized by an environment of fear, the threat of [[supernatural]] events, and the intrusion of the past upon the present.<ref name="Birch">{{Cite encyclopedia |year=2009 |title=Gothic fiction |encyclopedia=The Oxford Companion to English Literature |publisher=Oxford University Press |editor-last=Birch |editor-first=Dinah |edition=7th |isbn=9780191735066}}</ref><ref name="Hogle">{{Cite book |url=https://www.cambridge.org/core/product/identifier/9780511999185/type/book |title=The Cambridge Companion to Gothic Fiction |date=2002-08-29 |publisher=Cambridge University Press |isbn=978-0-521-79124-3 |editor-last=Hogle |editor-first=Jerrold E. |edition=1 |pages=1–20 |chachapter=Introduction real|series=Cambridge madridCompanions to Literature |doi=10.1017/ccol0521791243}}</ref> The setting typically includes physical reminders of the past, especially through ruined buildings which stand as proof of a previously thriving world which is decaying in the present.<ref name="De Vore setting">{{Cite web |last=De Vore |first=David |title=The Gothic Novel |url=http://cai.ucdavis.edu/waters-sites/gothicnovel/155breport.html |url-status=dead |archive-url=https://web.archive.org/web/20110313142647/http://cai.ucdavis.edu/waters-sites/gothicnovel/155breport.html |archive-date=2011-03-13|quote="The setting is greatly influential in Gothic novels. It not only evokes the atmosphere of horror and dread, but also portrays the deterioration of its world. The decaying, ruined scenery implies that at one time there was a thriving world. At one time the abbey, castle, or landscape was something treasured and appreciated. Now, all that lasts is the decaying shell of a once thriving dwelling."}}</ref> EspeciallyCharacteristic settings in the eighteenth18th and nineteenth19th centuries, characteristic settings include castles, religious buildings likesuch as [[Monastery|monasteries]] and [[convent]]s, and [[crypt]]s. The atmosphere is typically [[Claustrophobia|claustrophobic]], and common plot elements include vengeful persecution, imprisonment, and murder.<ref name="Birch" /> The depiction of horrible events in Gothic fiction often serves as a metaphorical expression of psychological or social conflicts.<ref name="Hogle" /> The form of a Gothic story is usually discontinuous and convoluted, often incorporating tales within tales, changing narrators, and framing devices such as discovered manuscripts or interpolated histories.<ref name="Kosofsky Sedgwick">{{Cite web|author=Kosofsky Sedgwick, Eve|author-link=Eve Kosofsky Sedgwick|url=https://readingemilydickinson.weebly.com/uploads/2/9/1/3/29138015/coherence_of_gothic_conventions_with_annotations.pdf|title=The Coherence of Gothic Conventions|publisher=Methuen |date=1980|access-date=July 25, 2022}}</ref> Other characteristics, regardless of relevance to the main plot, can include sleeplike and deathlike states, live burials, [[Gothic double|doubles]], unnatural echoes or silences, the discovery of obscured family ties, unintelligible writings, nocturnal landscapes, remote locations,<ref name=":0">{{Cite book |title=The Sherlock Holmes Book |publisher=[[DK (publisher)|DK]] |year=2015 |isbn=978-1-4654-3849-2 |editor-last=Davies |editor-first=David Stuart |editor-link=David Stuart Davies |edition=First American |location=New York |pages=99–100 |editor-last2=Forshaw |editor-first2=Barry |editor-link2=Barry Forshaw}}</ref> and dreams.<ref>{{Cite web|authorname="Kosofsky Sedgwick," Eve|url=https://readingemilydickinson.weebly.com/uploads/2/9/1/3/29138015/coherence_of_gothic_conventions_with_annotations.pdf|title=The Coherence of Gothic Conventions |date=1980|access-date=July 25, 2022}}</ref> Especially in the late [[19th century]], Gothic fiction often involved [[Demon|demonsdemon]]s and [[demonic possession]], [[Ghost|ghostsghost]]s, and other kinds of evil spirits.<ref name=":0" />

Gothic fiction often moves between "[[high culture]]" and "[[low culture|low]]" or "[[popular culture]]".<ref name="Hogle" />{{Clarify|date=July 2023|reason=Clarify what this means, and how it is relevant}}

From the castles, dungeons, forests, and hidden passages of the Gothic novel genre emerged female Gothic. Guided by the works of authors such as [[Ann Radcliffe]], [[Mary Shelley]], and [[Charlotte Brontë]], the female Gothic allowed women's societal and sexual desires to be introduced. In many respects, the novel's intended reader of the time was the woman who, even as she enjoyed such novels, felt she had to "[lay] down her book with affected indifference, or momentary shame,"<ref name="Austen">"Austen's ''Northanger Abbey''", Second Edition, Broadview, 2002.</ref> according to [[Jane Austen]]. The Gothic novel shaped its form for woman readers to "turn to Gothic romances to find support for their own mixed feelings."<ref name="Ronald">Ronald, Ann, "Terror Gothic: Nightmare and Dream in Ann Radcliffe and Charlotte Bronte", in Juliann E. Fleenor (ed.) [https://resources.saylor.org/wwwresources/archived/site/wp-content/uploads/2011/04/The-Female-Gothic.pdf ''The Female Gothic''], Ed. Fleenor,Montreal: Eden Press Inc., 1983, pp. 176–186.</ref>

Female Gothic narratives focus on such topics as a persecuted heroine fleeing from a villainous father and searching for an absent mother. At the same time, male writers tend towards the masculine transgression of social taboos. The emergence of the ghost story gave women writers something to write about besides the common marriage plot, allowing them to present a more radical critique of male power, violence, and predatory sexuality.<ref name="Smith, Andrew 2004, pp. 1–7">Smith, Andrew, and Diana Wallace, "The Female Gothic: Then and Now." ''Gothic Studies'', 25 August 2004, pp. 1–7.</ref> Authors such as [[Mary Robinson (poet)|Mary Robinson]] and [[Charlotte Dacre]] however, present a counter to the naive and persecuted heroines usually featured in female Gothic of the time, and instead feature more sexually assertive heroines in their works.<ref>{{cite web|url=https://reactormag.com/the-real-life-heroines-of-the-early-gothic/| title=The Real Life Heroines of the Early Gothic

After the characteristic Gothic ''[[Bildungsroman]]''-like plot sequence, female Gothic allowed readers to grow from "adolescence to maturity"<ref name="Nichols">Nichols, Nina da Vinci, "Place and Eros in Radcliffe", Lewis and Bronte", in Juliann E. Fleenor (ed.), [https://resources.saylor.org/wwwresources/archived/site/wp-content/uploads/2011/04/The-Female-Gothic.pdf ''The Female Gothic: An Introduction''], ed. Fleenor,Montreal: Eden Press Inc., 1983, pp. 187–206.</ref> in the face of the realized impossibilities of the supernatural. As protagonists likesuch as Adeline in ''[[The Romance of the Forest]]'' learn that their superstitious fantasies and terrors are replaced by natural cause and reasonable doubt, the reader may grasp the heroine's true position: "The heroine possesses the romantic temperament that perceives strangeness where others see none. Her sensibility, therefore, prevents her from knowing that her true plight is her condition, the disability of being female."<ref name="Nichols" />

The plays of [[William Shakespeare]], in particular, were a crucial reference point for early Gothic writers, in both an effort to bring credibility to their works, and to legitimize the emerging genre as serious literature to the public.<ref>{{Cite thesis|author=L. Wiley, Jennifer|url=https://repository.arizona.edu/bitstream/handle/10150/594386/azu_etd_14308_sip1_m.pdf?sequence=1&isAllowed=y|title=Shakespeare's Influence on the English Gothic, 1791-18341791–1834: The Conflicts of Ideologies |type=PhD dissertation |publisher=University of Arizona |date=2015 |access-date=May 4, 2022 |hdl=10150/594386}}</ref> Tragedies such as ''[[Hamlet]]'', ''[[Macbeth]]'', ''[[King Lear]]'', ''[[Romeo and Juliet]],'' and ''[[Richard III (play)|Richard III]]'', with plots revolving around the supernatural, revenge, murder, ghosts, [[witchcraft]], and omens, written in dramatic pathos, and set in medieval castles, were a huge influence upon early Gothic authors, who frequently quote, and make allusions to Shakespeare's works.<ref>{{Cite thesis |author=Hewitt, Natalie A.|url=https://scholarship.claremont.edu/cgi/viewcontent.cgi?referer=&httpsredir=1&article=1080&context=cgu_etd/|title=Something old and dark has got its way": Shakespeare's Influence in the Gothic Literary Tradition |type=PhD dissertation |publisher=Claremont Graduate University |date=2013|access-date=April 29, 2022 |doi=10.5642/cguetd/77 |doi-access=free }}</ref>

[[Alexander Pope]], who had a considerable influence on Walpole, was the first significant poet of the 18th century to write a poem in an authentic Gothic manner.<ref>{{Cite thesis|author=Saraoorian, Vahe |url=https://etd.ohiolink.edu/apexprod/rws_etd/send_file/send?accession=bgsu1554464085299421&disposition=inline |title=The Way To Otranto: Gothic Elements In Eighteenth-Century English Poetry |type=PhD dissertation |publisher=Bowling Green State University |date=1970 |access-date=May 4, 2022}}</ref> ''[[Eloisa to Abelard]]'' (1717), a tale of star-crossed lovers, one doomed to a life of seclusion in a convent, and the other in a monastery, abounds in gloomy imagery, religious terror, and suppressed passion. The influence of Pope's poem is found throughout 18th-century Gothic literature, including the novels of Walpole, Radcliffe, and Lewis.<ref>{{Cite thesis |author=Virginia Stoops, Marion|url=https://etd.ohiolink.edu/apexprod/rws_etd/send_file/send?accession=osu1166460676&disposition=inline|title=Gothic Elements in Pope's Eloisa to Abelard |type=MA thesis |publisher=Ohio State University |date=1973|access-date=May 4, 2022}}</ref>

[[File:The Mysteries of Udolpho (1794).png|thumb|upright|left|[[Ann Radcliffe]]'s ''[[The Mysteries of Udolpho]]'' (1794), a bestselling Gothic novel. Frontispiecethat towas 4thcritical in setting off the Gothic craze of editionthe shown.1790s]]

The first work to call itself "Gothic" was [[Horace Walpole]]'s ''[[The Castle of Otranto]]'' (1764).<ref name="Birch"/> The first edition presented the story as a translation of a sixteenth- century manuscript and was widely popular. Walpole, in the second edition, revealed himself as the author which adding the subtitle "A Gothic Story." The revelation prompted a backlash from readers, who considered it inappropriate for a modern author to write a supernatural story in a rational age.<ref>{{Cite book |last=Clery |first=E. J. |url=https://www.worldcat.org/oclc/776946868 |title=The Rise of Supernatural Fiction, 1762-18001762–1800 |date=1995 |publisher=Cambridge University Press |isbn=978-0-511-51899-7 |location=Cambridge |oclc=776946868}}</ref> Walpole did not initially prompt many imitators. Beginning with [[Clara Reeve]]'s ''[[The Old English Baron]]'' (1778), the 1780s saw more writers attempting his combination of supernatural plots with emotionally realistic characters. Examples include [[Sophia Lee]]'s ''[[The Recess]]'' (1783–5) and [[William Beckford (novelist)|William Beckford]]'s ''[[Vathek]]'' (1786).<ref name="Sucur" />

At the height of the Gothic novel's popularity in the 1790s, the genre was almost synonymous with [[Ann Radcliffe]], whose works were highly anticipated and widely imitated. ''[[The Romance of the Forest]]'' (1791) and ''[[The Mysteries of Udolpho]]'' (1794) were particularly popular.<ref name="Sucur">{{Cite encyclopedia|title=Gothic fiction|encyclopedia=The Literary Encyclopedia.|last=Sucur|first=Slobodan|date=2007-05-06|issn=1747-678X}}</ref> In an essay on Radcliffe, [[Walter Scott]], writes of the popularity of ''Udolpho'' at the time, "The very name was fascinating, and the public, who rushed upon it with all the eagerness of curiosity, rose from it with unsated appetite. When a family was numerous, the volumes flew, and were sometimes torn from hand to hand."<ref>{{cite web|url=https://archive.org/details/livesnovelists01scotgoog/page/n5/mode/2up |title=Lives of the Novelists |last=Scott |first=Walter |publisher=Carey & Lea|page=195| date=1825}}</ref> Radcliffe's novels were often seen as the feminine and rational opposite of a more violently horrifying male Gothic associated with [[Matthew Lewis (writer)|Matthew Lewis]]. Radcliffe's final novel, [[The Italian (Radcliffe novel)|''The Italian'']] (1797), responded to Lewis's ''[[The Monk]]'' (1796).,<ref name="Hogle"/> Radcliffe and Lewis have been called "the two most significant Gothic novelists of the 1790s."<ref>{{Cite web|author=Miles, Robert|url=https://archive.org/details/a_companion_to_the_gothic/page/n49/mode/2up|title=

The popularity and influence of ''The Mysteries of Udolpho'' and ''The Monk'' saw the rise of shorter and cheaper versions of Gothic literature in the forms of [[Gothic bluebooks]] and [[chapbooks]], which in many cases were plagiarized and abridgments of well known Gothic novels.<ref>{{Cite web|last=Thomas|first=Susan |url=https://library.unimelb.edu.au/asc/whats-on/exhibitions/dark-imaginings/gothicresearch/gothic-bluebooks-the-popular-thirst-for-fear-and-dread |title=Gothic bluebooks: The popular thirst for fear and dread|publisher=[[University of Melbourne]]}}</ref> ''The Monk'' in particular, with its immoral and sensational content, saw many plagiarized copies, and was notably drawn from in the cheaper pamphlets.<ref>{{Cite book |last=J. Potter|first=Franz J. |url=https://thedarkartsjournal.wordpress.com/2021/05/14/review-gothic-chapbooks/ |title=Gothic Chapbooks, Bluebooks and Shilling Shockers, 1797-1830 |date=2021 |publisher=University of Wales Press |isbn=978-1-78683-670-0}}</ref>

Other notable Gothic novels of the 1790s include [[William Godwin]]'s ''[[Things as They Are; or, The Adventures of Caleb Williams|Caleb Williams]]'' (1794), [[Regina Maria Roche]]'s ''[[Clermont (novel)|Clermont]]'' (1798), and [[Charles Brockden Brown]]'s [[Wieland (novel)|''Wieland'']] (1798), as well as large numbers of anonymous works published by the [[Minerva Press]].<ref name="Sucur" /> In continental Europe, Romantic literary movements led to related Gothic genres such as the German ''Schauerroman'' and the French R''oman noir''.<ref>{{Citation |last=Hale |first=Terry |title=French and German Gothic: the beginnings |date=2002 |url=https://www.cambridge.org/core/books/cambridge-companion-to-gothic-fiction/french-and-german-gothic/D2C9BAEC304DC0E27775DF1CE36B9DA3 |work=The Cambridge Companion to Gothic Fiction |pages=63–84 |editor-last=Hogle |editor-first=Jerrold E. |series=Cambridge Companions to Literature |place=Cambridge |publisher=Cambridge University Press |isbn=978-0-521-79124-3 |access-date=2020-09-02}}</ref><ref>{{Cite thesis |last=Seeger |first=Andrew Philip |date=2004 |title=Crosscurrents between the English Gothic novel and the German Schauerroman |type=PhD dissertation |publisher=University of Nebraska–Lincoln |url=https://digitalcommons.unl.edu/dissertations/AAI3131562 |id={{ProQuest|305161832}} |pages=1–208}}</ref> Eighteenth-century Gothic novels were typically set in a distant past and (for English novels) a distant European country, but without specific dates or historical figures that characterized the later development of [[historical fiction]].<ref name="Richter">{{Cite book|last=Richter|first=David H.|title=The Oxford Handbook of the Eighteenth-Century Novel |chapter-url=https://oxfordhandbooks.com/view/10.1093/oxfordhb/9780199566747.001.0001/oxfordhb-9780199566747-e-021|chapter=The Gothic Novel and the Lingering Appeal of Romance|date=2016-07-28|publisher=Oxford University Press|isbn=978-0-19-956674-7|editor-last=Downie|editor-first=James Alan|pages=471–488|language=en|doi=10.1093/oxfordhb/9780199566747.013.021}}</ref>

The saturation of Gothic-inspired literature during the 1790s was referred to in a letter by [[Samuel Taylor Coleridge]], writing on 16 March 1797, "indeed I am almost weary of the Terrible, having been a hireling in the [[The Critical Review (newspaper)|Critical Review]] for the last six or eight months – I have been reviewing ''[[the Monk]]'', ''[[The Italian (Radcliffe novel)|the Italian]]'', ''Hubert de Sevrac'' &c &c &c – in all of which dungeons, and old castles, & solitary Houses by the Sea Side & Caverns & Woods & extraordinary characters & all the tribe of Horror & Mystery, have crowded on me – even to surfeiting."<ref>{{Cite web|author=Norton, Rictor|url=http://rictornorton.co.uk/gothic/monk.htm |title=Gothic Readings, 1764-18401764–1840 |date=2000|access-date=May 11, 2022}}</ref>

The excesses, stereotypes, and frequent absurdities of the Gothic genre made it rich territory for satire.<ref>Skarda 1986.</ref> Historian [[Rictor Norton]] notes that satire of Gothic literature was common from 1796 until the 1820s, including early satirical works such as ''The New Monk'' (1798), ''More Ghosts''! (1798) and ''Rosella, or Modern Occurrences'' (1799). Gothic novels themselves, according to Norton, also possess elements of self-satire, "By having profane comic characters as well as sacred serious characters, the Gothic novelist could puncture the balloon of the supernatural while at the same time affirming the power of the imagination."<ref>{{Cite web|author=Norton, Rictor|url=http://rictornorton.co.uk/gothic/parody.htm |title=Gothic Readings, 1764–1840, Gothic Parody |date=2000}}</ref> After 1800 there was a period in which Gothic parodies outnumbered forthcoming Gothic novels.<ref>{{Cite book |last=Potter |first=Franz J. |url=https://www.worldcat.org/oclc/58807207 |title=The history of Gothic publishing, 1800-18351800–1835 : exhuming the trade |date=2005 |publisher=Palgrave Macmillan |isbn=1-4039-9582-6 |location=Houndmills, Basingstoke, Hampshire |oclc=58807207}}</ref> In ''[[The Heroine (novel)|The Heroine]]'' by [[Eaton Stannard Barrett]] (1813), Gothic tropes are exaggerated for comic effect.<ref>{{Cite book |last=Horner |first=Avril |url=https://www.worldcat.org/oclc/312477942 |title=Gothic and the comic turn |date=2005 |publisher=Palgrave Macmillan |isbn=978-0-230-50307-6 |location=Houndmills, Basingstoke, Hampshire |pages=27 |oclc=312477942}}</ref> In [[Jane Austen]]'s novel ''[[Northanger Abbey]]'' (1818), the naive protagonist, a female named Catherine, conceives herself as a heroine of a Radcliffean romance and imagines murder and villainy on every side. However, the truth turns out to be much more prosaic. This novel is also noted for including a list of early Gothic works known as the [[Northanger Horrid Novels]].<ref>Wright (2007), pp. 29-3229–32.</ref>

Byron was also the host of the celebrated ghost-story competition involving himself, [[Percy Bysshe Shelley]], [[Mary Shelley]], and [[John William Polidori]] at the Villa Diodati on the banks of [[Lake Geneva]] in the summer of 1816. This occasion was productive of both Mary Shelley's ''[[Frankenstein|Frankenstein, or, The Modern Prometheus]]'' (1818), and Polidori's ''[[The Vampyre]]'' (1819), featuring the Byronic [[Lord Ruthven (vampire)|Lord Ruthven]]. ''The Vampyre'' has been accounted by cultural critic Christopher Frayling as one of the most influential works of fiction ever written and spawned a craze for [[Vampire literature|vampire fiction]] and theatre (and, latterly, film) that has not ceased to this day.<ref>{{Cite book |last=Frayling | first =Christopher | author-link =Christopher Frayling | title =Vampyres: Lord Byron to Count Dracula | publisher =Faber | date =1992 | orig-year=1978 |location=London |isbn=978-0-571-16792-0 |url =https://archive.org/details/isbn_9780571167920}}</ref> ThoughAlthough clearly influenced by the Gothic tradition, Mary Shelley's novel is often considered the first [[science fiction]] novel, despite the novel's lack of any scientific explanation for the monster's animation and the focus instead on the moral dilemmas and consequences of such a creation.

Although ushering in the historical novel, and turning popularity away from Gothic fiction, [[Walter Scott]] frequently employsemployed Gothic elements in his novels and poetry.<ref>{{Cite web|author=Freye, Walter|url=https://archive.org/details/cu31924013546043/mode/2up|title=The influence of "Gothic" literature on Sir Walter Scott |date=1902|access-date=May 4, 2022}}</ref> Scott drew upon oral folklore, fireside tailstales, and ancient superstitions, often juxtaposing rationality and the supernatural. Novels such as ''[[The Bride of Lammermoor]]'' (1819), in which the charactercharacters's fates are decided by superstition and prophecy, or the poem ''[[Marmion (poem)|Marmion]]'' (1808), in which a Nunnun is walled alive inside a convent, illustrate Scott's influence and use of Gothic themes.<ref>{{Cite web|author=Rose Miller, Emma|url=http://www.wreview.org/attachments/article/346/Fact,%20Fiction,%20or%20Fantasy_Scott%E2%80%99s%20Historical%20Project%20and%20The%20Bride%20of%20Lammermoor.pdf |archive-url=https://web.archive.org/web/20220521104654/http://www.wreview.org/attachments/article/346/Fact,%20Fiction,%20or%20Fantasy_Scott%E2%80%99s%20Historical%20Project%20and%20The%20Bride%20of%20Lammermoor.pdf |archive-date=2022-05-21 |url-status=live|title=Fact, Fiction or Fantasy, Scott's Historical Project and The Bride of Lammermoor |date=2019|access-date=May 1, 2022}}</ref><ref>{{Cite web|author=Joe Walker, Grady|url=https://core.ac.uk/download/pdf/215281992.pdf |archive-url=https://web.archive.org/web/20220521104724/https://core.ac.uk/download/pdf/215281992.pdf |archive-date=2022-05-21 |url-status=live|title=Scott's Refinement of The Gothic In Certain of The Waverley Novels |date=1957|access-date=May 4, 2022}}</ref>

A late example of a traditional Gothic novel is ''[[Melmoth the Wanderer]]'' (1820) by [[Charles Maturin]], which combines themes of anti-Catholicism with an outcast Byronic hero.<ref>Varma 1986</ref> [[Jane C. Loudon]]'s ''[[The Mummy!]]'' (1827) features standard Gothic motifs, characters, and plot, but with one significant twist:; it is set in the twenty-second century and speculates on fantastic scientific developments that might have occurred fourthree hundred years in the future, making it and ''Frankenstein'' among the earliest examples of the [[science fiction]] genre developing from Gothic traditions.<ref name="Hopkins">[http://shura.shu.ac.uk/8710/3/Hopkins_Loudon_Mummy.pdf Lisa Hopkins, "Jane C. Loudon's The Mummy!: Mary Shelley Meets George Orwell, and They Go in a Balloon to Egypt", in Cardiff Corvey: ''Reading the Romantic Text'', 10 (June 2003)]. Cf.ac.uk (25 January 2006). Retrieved on 18 September 2018.</ref>

During two decades, the most famous author of Gothic literature in Germany was the polymath [[E. T. A. Hoffmann]]. Lewis's ''[[The Monk]]'' influenced and even mentioned it in his novel ''[[The Devil's Elixirs]]'' (1815). The novel explores the motive of [[Doppelgänger]], a term coined by another German author and supporter of Hoffmann, [[Jean Paul|Jean-Paul]], in his humorous novel ''[[Siebenkäs]]'' (1796–1797). He also wrote an opera based on [[Friedrich de la Motte Fouqué]]'s Gothic story ''[[Undine (novella)|Undine]]'' (1816), for which de la Motte Fouqué wrote the libretto.<ref>Hogle, p. 105–122.</ref> Aside from Hoffmann and de la Motte Fouqué, three other important authors from the era were [[Joseph Freiherr von Eichendorff]] (''[[The Marble Statue]]'', 1818), [[Ludwig Achim von Arnim]] (''Die Majoratsherren'', 1819), and [[Adelbert von Chamisso]] (''Peter Schlemihls wundersame Geschichte'', 1814).<ref>Cusack, Barry, p. 91, pp. 118–123.</ref> After them, [[Wilhelm Meinhold]] wrote ''[[The Amber Witch]]'' (1838) and ''[[Sidonia von Bork]]'' (1847).

In Spain, the priest [[Pascual Pérez Rodríguez]] was the most diligent novelist in the Gothic way, closely aligned to the supernatural explained by Ann Radcliffe.<ref>Aldana, Xavier, pp. 10–17</ref> At the same time, the poet [[José de Espronceda]] published ''[[El estudiante de Salamanca|The Student of Salamanca]]'' (1837-18401837–1840), a narrative poem that presents a horrid variation on the [[Don Juan]] legend.

In Russia, authors of the Romantic era include [[Antony Pogorelsky]] (penname of Alexey Alexeyevich Perovsky), [[Orest Somov]], [[Oleksa Storozhenko]],<ref>Krys Svitlana, "[https://journals.ku.edu/index.php/folklorica/article/view/4211 Folklorism in Ukrainian Gotho-Romantic Prose: Oleksa Storozhenko’s Tale About Devil in Love (1861).]" ''Folklorica: Journal of the Slavic and East European Folklore Association'', 16 (2011), pp. 117–138.</ref> [[Alexandr Pushkin]], [[Nikolai Polevoy|Nikolai Alekseevich Polevoy]], [[Mikhail Lermontov]] (for his work ''Stuss''), and [[Alexander Bestuzhev-Marlinsky]].<ref name="Horner (2002), pp. 59–82">Horner (2002). ''Neil Cornwell: European Gothic and the 19th-century Gothic literature'', pp. 59–82.</ref> Pushkin is particularly important, as his 1833 short story ''[[The Queen of Spades (story)|The Queen of Spades]]'' was so popular that it was adapted into operas and later films by Russian and foreign artists. Some parts of Mikhail Yuryevich Lermontov's "''[[A Hero of Our Time]]"'' (1840) are also considered to belong to the Gothic genre, but they lack the supernatural elements of other Russian Gothic stories.

The following poems are also now considered to belong to the Gothic genre: Meshchevskiy's "Lila", Katenin's "Olga", [[Alexander Pushkin|Pushkin]]'s "The Bridegroom", [[Pyotr Pletnyov|Pletnev]]'s "The Gravedigger" and [[Mikhail Lermontov|Lermontov]]'s "''[[Demon (poem)|Demon]]"'' (1829–1839).<ref>Cornwell (1999). Michael Pursglove: Does Russian gothic verse exist, pp. 83–102.</ref>

The key author of the transition from Romanticism to Realism, [[Nikolai Vasilievich Gogol]], who was also one of the most important authors of Romanticism, produced a number of works that qualify as Gothic fiction. Each of his three short story collections features a number of stories that fall within the Gothic genre or contain Gothic elements. They include "[[St. John's Eve (short story)|Saint John's Eve]]" and "[[A Terrible Vengeance]]" from ''[[Evenings on a Farm Near Dikanka]]'' (1831–1832), "[[The Portrait (short story)|The Portrait]]" from ''Arabesques'' (1835), and "[[Viy (story)|Viy]]" from [[Mirgorod (short story collection)|''Mirgorod'']] (1835). While all are well known, the latter is probably the most famous, having inspired at least eight film adaptations (two now considered lost), one animated film, two documentaries, and a video game. Gogol's work differs from Western European Gothic fiction, as his cultural influences drew on [[Ukrainian folklore]], the [[Cossacks|Cossack]] lifestyle, and, as a religious man, [[History of the Russian Orthodox Church|Orthodox Christianity]].<ref>Simpson, c. p. 21.</ref><ref>Cornwell (1999). Neil Cornwell, pp. 189–234.</ref>

By the [[Victorian era]], Gothic had ceased to be the dominant genre for novels in England, partly replaced by more sedate [[historical fiction]]. However, Gothic short stories continued to be popular, published in magazines or as small [[chapbooks]] called [[penny dreadfuls]].<ref name="Birch"/> The most influential Gothic writer from this period was the American [[Edgar Allan Poe]], who wrote numerous short stories and poems reinterpreting Gothic tropes. His story "[[The Fall of the House of Usher]]" (1839) revisits classic Gothic tropes of aristocratic decay, death, and madness.<ref>(Skarda and Jaffe (1981) pp. 181–182.</ref> Poe is now considered the master of the American Gothic.<ref name="Birch"/> In England, one of the most influential penny dreadfuls is the anonymously authored ''[[Varney the Vampire]]'' (1847), which introduced the [[trope (literature)|trope]] of vampires having sharpened teeth.<ref>[http://www.huffingtonpost.com/brian-cronin/did-vampires-not-have-fan_b_8415636.html "Did Vampires Not Have Fangs in Movies Until the 1950s?"]. ''Huffington Post''. Retrieved 27 September 2017.</ref> Another notable English author of penny dreadfuls is [[George W. M. Reynolds]], known for ''[[The Mysteries of London]]'' (1844), ''Faust'' (1846), ''Wagner the Wehr-wolf'' (1847), and ''The Necromancer'' (1857).<ref>Baddeley (2002) pp. 143–144.)</ref> [[Elizabeth Gaskell]]'s tales "The Doom of the Griffiths" (1858), "Lois the Witch", and "The Grey Woman" all employ one of the most common themes of Gothic fiction: the power of ancestral sins to curse future generations, or the fear that they will. [[M. R. James]], an English medievalist whose stories are still popular today, is known as the originator of the "antiquarian ghost story." In Spain, [[Gustavo Adolfo Bécquer]] stood out with his romantic poems and short tales, some depicting supernatural events. Today some consider him the most-read [[Spanish language|Spanish]] writer after [[Miguel de Cervantes]].<ref>{{Cite news |url=http://www.laprovincia.es/cultura/2011/07/28/becquer-escritor-leido-despues-cervantes/390220.html |title=Bécquer es el escritor más leído después de Cervantes |date=July 28, 2011 |access-date=February 22, 2018 |newspaper=La Provincia. Diario de las Palmas |language=es}}</ref>

In addition to these short Gothic fictions, some novels drew on the Gothic. [[Emily Brontë]]'s ''[[Wuthering Heights]]'' (1847) transports the Gothic to the forbidding Yorkshire Moors and features ghostly apparitions and a Byronic hero in the person of the demonic Heathcliff. The Brontës' fictions were cited by feminist critic [[Ellen Moers]] as prime examples of Female Gothic, exploring woman's entrapment within domestic space and subjection to patriarchal authority and the transgressive and dangerous attempts to subvert and escape such restriction.<ref>{{Cite book |title=Literary Women |last=Moers |first=Ellen |year=1976 |publisher=Doubleday |isbn=9780385074278}}</ref> Emily Brontë's ''Cathy'' and [[Charlotte Brontë]]'s ''[[Jane Eyre]]'' are examples of female protagonists in such roles.<ref>Jackson (1981) pp. 123–129.</ref> [[Louisa May Alcott]]'s Gothic potboiler, ''[[A Long Fatal Love Chase]]'' (written in 1866 but published in 1995), is also an interesting specimen of this subgenre. Charlotte Brontë's ''[[Villette (novel)|Villette]]'' also shows the Gothic influence, with its supernatural subplot featuring a ghostly nun, and its view of [[Roman Catholicism]] as exotic and heathenistic. <ref>{{cite journal |last1=Johnson |first1=E. D. H. |title="Daring the Dread Glance": Charlotte Brontë's Treatment of the Supernatural in Villette |journal=Nineteenth-Century Fiction |date=1966 |volume=20 |issue=4 |pages=325–336 |doi=10.2307/2932664|jstor=2932664 }}</ref> <ref>{{cite journal |last1=Clarke |first1=Micael M. |title=Charlotte Brontë's "Villette", Mid-Victorian Anti-Catholicism, and the Turn to Secularism |journal=ELH |date=2011 |volume=78 |issue=4 |pages=967–989 |doi=10.1353/elh.2011.0030 |jstor=41337561 |s2cid=13970585 |issn=0013-8304|url=https://ecommons.luc.edu/cgi/viewcontent.cgi?article=1015&context=english_facpubs }}</ref> [[Nathaniel Hawthorne]]'s novel ''[[The House of the Seven Gables]]'', about a family's ancestral home, is colored with suggestions of the supernatural and witchcraft; and in true Gothic fashion, it features the house itself as one of the main characters,

The genre also heavily influenced writers such as [[Charles Dickens]], who read Gothic novels as a teenager and incorporated their gloomy atmosphere and melodrama into his works, shifting them to a more modern period and an urban setting; for example, in ''[[Oliver Twist]]'' (1837–1838), ''[[Bleak House]]'' (1854) and ''[[Great Expectations]]'' (1860–1861). These works juxtapose wealthy, ordered, and affluent civilization with the disorder and barbarity of the poor in the same metropolis. ''Bleak House,'' in particular, is credited with introducing [[smog|urban fog]] to the novel, which would become a frequent characteristic of urban Gothic literature and film (Mighall 2007). [[Miss Havisham]] from ''Great Expectations'', is one of Dickens’ most Gothic characters. The bitter recluse who shuts herself away in her gloomy mansion ever since being jilted at the altar on her wedding day.<ref>{{cite news |title=The Gothic in Great Expectations |url=https://www.bl.uk/romantics-and-victorians/videos/the-gothic-in-great-expectations |access-date=16 August 2021 |agency=[[British Library]] |archive-date=31 July 2023 |archive-url=https://web.archive.org/web/20230731073817/https://www.bl.uk/romantics-and-victorians/videos/the-gothic-in-great-expectations |url-status=dead }}</ref> His most explicitly Gothic work is his last novel, ''[[The Mystery of Edwin Drood]],'' which he did not live to complete and was published unfinished upon his death in 1870. The mood and themes of the Gothic novel held a particular fascination for the Victorians, with their obsession with mourning rituals, [[Memento mori|mementos]], and mortality in general.

In GermanySwitzerland, [[Jeremias Gotthelf]] wrote ''[[The Black Spider]]'' (1842), an allegorical work that uses Gothic themes. The last work from the German writer [[Theodor Storm]], ''[[The Rider on the White Horse]]'' (1888), also uses Gothic motives and themes.<ref>Cusack, Barry, p. 26.</ref>

After Gogol, Russian literature saw the rise of Realism, but many authors continued to write stories within Gothic fiction territory. [[Ivan Sergeyevich Turgenev]], one of the most celebrated Realists, wrote ''Faust'' (1856), ''Phantoms'' (1864), ''Song of the Triumphant Love'' (1881), and ''Clara Milich'' (1883). Another classic Russian Realist, [[Fyodor Mikhailovich Dostoyevsky]], incorporated Gothic elements into many of his works, although none can be seen as purely Gothic.<ref>Cornwell (1999). pp. 211–256.</ref> [[Grigory Petrovich Danilevsky]], who wrote historical and early [[science fiction]] novels and stories, wrote ''Mertvec-ubiytsa'' (''Dead Murderer'') in 1879. Also, [[Grigori Machtet|Grigori Alexandrovich Machtet]] wrote "Zaklyatiy kazak", which may now also be considered Gothic.<ref name="Butuzov">Butuzov.</ref>

In Ireland, Gothic fiction tended to be purveyed by the [[Anglo-Irish people|Anglo-Irish]] [[Protestant Ascendancy]]. According to literary critic [[Terry Eagleton]], [[Charles Maturin]], [[Sheridan Le Fanu]], and [[Bram Stoker]] form the core of the [[Irish Gothic literature|Irish Gothic subgenre]] with stories featuring castles set in a barren landscape and a cast of remote aristocrats dominating an [[atavism|atavistic]] peasantry, which represent an allegorical form the political plight of [[Irish Catholics|Catholic Ireland]] subjected to the Protestant Ascendancy.<ref>Eagleton, 1995.</ref> Le Fanu's use of the gloomy villain, forbidding mansion, and persecuted heroine in ''[[Uncle Silas]]'' (1864) shows direct influence from Walpole's ''Otranto'' and Radcliffe's ''Udolpho''. Le Fanu's short story collection ''[[In a Glass Darkly]]'' (1872) includes the superlative vampire tale ''[[Carmilla]]'', which provided fresh blood for that particular strand of the Gothic and influenced [[Bram Stoker]]'s [[vampire]] novel ''[[Dracula]]'' (1897). Stoker's book created the most famous Gothic villain ever, [[Count Dracula]], and established [[Transylvania in popular culture|Transylvania]] and [[Eastern Europe]] as the ''locus classicus'' of the Gothic.<ref>Mighall, 2003.</ref> Published in the same year as ''Dracula'', [[Florence Marryat]]'s ''[[The Blood of the Vampire]]'' is another piece of vampire fiction. ''The Blood of the Vampire'', which, like ''Carmilla,'' features a female vampire, is notable for its treatment of vampirism as both [[Race (human categorization)|racial]] and medicalized. The vampire, Harriet Brandt, is also a [[psychic vampire]], killing unintentionally.<ref>{{Cite book |last=Haefele-Thomas |first=Ardel |url=https://www.jstor.org/stable/j.ctt9qhdw4 |title=Queer Others in Victorian Gothic: Transgressing Monstrosity |date=2012 |publisher=University of Wales Press |jstor=j.ctt9qhdw4 |isbn=978-0-7083-2464-6 |edition=1}}</ref>

The first Russian author whose work has been described as gothic fiction is considered to be [[Nikolay Karamzin|Nikolay Mikhailovich Karamzin]]. While many of his works feature gothic elements, the first to belong purely under the gothic fiction label is ''Ostrov Borngolm'' (''Island of Bornholm'') from 1793.<ref>Cornwell (1999). Derek Offord: ''Karamzin's Gothic Tale'', pp. 37–58.</ref> Nearly ten years later, [[Nikolay Gnedich|Nikolay Ivanovich Gnedich]] followed suit with his 1803 novel ''Don Corrado de Gerrera'', set in Spain during the reign of [[Philip II of Spain|Philip II]].<ref>Cornwell (1999). Alessandra Tosi: "At the origins of the Russian gothic novel", pp. 59–82.</ref> The term "Gothic" is sometimes also used to describe the [[ballad]]s of Russian authors such as [[Vasily Andreyevich Zhukovsky]], particularly "Ludmila" (1808) and "[[Svetlana (ballad)|Svetlana]]" (1813), both translations based on [[Gottfried August Bürger|Gottfreid August Burger]]'s Gothic German ballad, "[[Lenore (ballad)|Lenore]].".<ref>Cornwell (1999). Michael Pursglove: "Does Russian gothic verse exist?" pp. 83–102.</ref>

[[File:Mrs. Danvers.jpg|thumb|right|[[Mrs. Danvers]] in the [[Rebecca (1940 film)|1940 film adaptation]] of [[Daphne du Maurier]]'s ''[[Rebecca (novel)|Rebecca]]''. The success of ''Rebecca'' inspired a revival of interest in Gothic romance in the 20th century<ref>{{Cite web|url=https://patch.com/connecticut/groton/bp--more-classic-riffs|last=Clark-Greene|first=Barbara|date=2012 |title=More Classic Riffs |website=[[Patch Media]]}}</ref>]]

Gothic fiction and [[Modernism]] influenced each other. This is often evident in detective fiction, horror fiction, and science fiction, but the influence of the Gothic can also be seen in the high literary Modernism of the 20th century. [[Oscar Wilde]]'s ''[[The Picture of Dorian Gray]]'' (1890) initiated a re-working of older literary forms and myths that became common in the work of [[W. B. Yeats|Yeats]], [[T. S. Eliot|Eliot]], [[James Joyce|Joyce]], [[Virginia WoolfeWoolf]], [[Shirley Jackson]], and [[Angela Carter]], among others.<ref>{{Cite journal |last=Hansen |first=Jim |date=2011 |title=A Nightmare on the Brain: Gothic Suspicion and Literary Modernism |journal=Literature Compass |volume=8 |issue=9 |pages=635–644 |doi=10.1111/j.1741-4113.2010.00763.x}}</ref> In Joyce's [[Ulysses (novel)|''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 (Ireland)|Great Famine]] in the 1840s through to the current moment in the text.<ref>{{Cite journal |last=Wurtz |first=James F. |date=2005 |title=Scarce More a Corpse: Famine Memory and Representations of the Gothic in Ulysses |journal=Journal of Modern Literature |volume=29 |pages=102–117 |doi=10.2979/JML.2005.29.1.102 |s2cid=161368941 |id={{ProQuest|201671206}}}}</ref> 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.

The genre also influenced [[American literature|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]].<ref>Skarda and Jaffe (1981), pp. 418–456.)</ref>

Mass-produced Gothic romances became popular in the 1950s, 1960s, and 1970s with authors such as [[Phyllis A. Whitney]], [[Joan Aiken]], [[Dorothy Eden]], [[Eleanor Hibbert|Victoria Holt]], [[Barbara Mertz|Barbara Michaels]], [[Mary Stewart (novelist)|Mary Stewart]], [[Alice M G White|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 [[Hachette Book Group#Inactive imprints|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 (novelist)|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.<ref>{{Cite web |url=https://openlibrary.org/publishers/Love_Spell |title=Open Library On Internet Archive}}</ref> However, in recent years the term "Gothic Romance" is being used to describe both old and new works of Gothic fiction. <ref>{{Cite web |title=What Is Gothic Romance? 13 Books That Will Enchant Your Inner Gothic Fan |website=Book Riot |url=https://bookriot.com/gothic-romance/}}</ref>

Many modern writers of horror or other types of fiction exhibit considerable Gothic sensibilities – examples include [[Anne Rice]], [[Susan Hill]], [[Poppy Z. Brite|Billy Martin]], [[Silvia Moreno-Garcia]], [[Carmen Maria Machado]], [[Neil Gaiman]], and [[Stephen King]].<ref>Skarda and Jaffe (1981) pp. 464–465 and 478.</ref><ref>Davenport-Hines (1998) pp. 357-358357–358).</ref> [[Thomas M. Disch]]'s novel ''The Priest'' (1994) was subtitled ''A Gothic Romance'' and partly modeled on Matthew Lewis' ''The Monk''.<ref>Linda Parent Lesher, ''The Best Novels of the Nineties: A Reader's Guide''. McFarland, 2000 {{ISBN|0-7864-0742-5}}, p. 267.</ref><ref>{{Cite web |title=This Haunting New Bestseller Is Part du Maurier, Part del Toro | website=Slate | url=https://slate.com/culture/2020/07/mexican-gothic-book-review-silvia-moreno-garcia-novel.html }}</ref><ref>{{Cite web |title=Carmen Maria Machado Has Invented a New Genre: the Gothic Memoir |website=Electric Literature | url=https://electricliterature.com/carmen-maria-machado-has-invented-a-new-genre-the-gothic-memoir/}}</ref> 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.<ref>Stephanou, Aspasia, ''Reading Vampire Gothic Through Blood'', Palgrave, 2014.</ref> England's [[Sarah Ward (novelist)|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 (novel)|Bellefleur]]'' and ''A Bloodsmoor Romance'', [[Toni Morrison]] with her radical novel ''[[Beloved (novel)|Beloved]]'', about a slave-woman whose murdered baby haunts her, [[Raymond Kennedy (novelist)|Raymond Kennedy]] with his novel ''Lulu Incognito'',<ref>{{Cite web |title=The American Gothic – Digital Collections for the Classroom |url=https://dcc.newberry.org/?p=14394 |access-date=2023-05-03 |language=en-US}}</ref> [[Donna Tartt]] with her postmodern gothic horror novel ''[[The Secret History]]'',<ref>{{Cite web |title=The Gothic Terror of Donna Tartt's The Secret History |url=https://horrorobsessive.com/2022/01/20/the-gothic-terror-of-donna-tartts-the-secret-history/ |website=Horror Obsessive}}</ref> [[Ursula Vernon]] with her [[Edgar Allan Poe]]-inspired novel ''[[What Moves the Dead]]'', [[Danielle Trussoni]] with her "gothic extravaganza" ''The Ancestor'', <ref>{{Cite web |title=The Ancestor: Passion Trips Reason in this Gothic Extravaganza |website=Kirkus |url=https://www.kirkusreviews.com/book-reviews/danielle-trussoni/the-ancestor/}}</ref> and filmmaker [[Anna Biller]] with ''Bluebeard's Castle'', a throwback to 18th-century Gothic novels and 1960s dime-store romances. <ref>{{Cite web |title=Anna Biller on How the Gothic Gives Voice to Women's Pleasure—and Pain |url=https://electricliterature.com/anna-biller-bluebeards-castle-gothic-novel-book-interview/}}</ref> British writers who have continued in the Gothic tradition include [[Sarah Waters]] with her haunted house novel ''[[The Little Stranger]]'',<ref>{{Cite web | title=A Review of The Little Stranger—The Novel | url=https://thebooksofdaniel.com/2020/08/03/a-review-of-the-little-stranger-the-novel/}}</ref> [[Diane Setterfield]] with her quintessentially Gothic novels ''[[The Thirteenth Tale]]''<ref>{{Cite web |title=The Thirteenth Tale: Gothic Storytelling at its Best |url=https://medium.com/a-thousand-lives/the-thirteenth-tale-gothic-storytelling-at-its-best-4266e5fcacf3/}}</ref> and ''[[Once Upon a River (novel)|Once Upon a River]]'', [[Helen Oyeyemi]] with her experimental novel ''[[White is for Witching]]'',<ref>{{Cite web |title=GOTHIC AMBIGUITY: HELEN OYEYEMI'S WHITE IS FOR WITCHING |website=Blackgate |url=https://www.blackgate.com/2013/06/23/gothic-ambiguity-helen-oyeyemis-white-is-for-witching/}}</ref> [[Sarah Perry]] with her novels ''Melmoth'' and ''[[The Essex Serpent]]'',<ref>{{Cite web |title=The Essex Serpent by Sarah Perry review – a compulsive novel of ideas |website=The Guardian |url=https://www.theguardian.com/books/2016/jun/16/the-essex-serpent-sarah-perry-review-novel}}</ref> and [[Laura Purcell]] with her historical novels ''The Silent Companions'' and ''The Shape of Darkness.''<ref>{{Cite web |title=Book Review: The Silent Companions by Laura Purcell | website=The BiblioSanctum |url=https://bibliosanctum.com/2018/04/03/book-review-the-silent-companions-by-laura-purcell/}}</ref>

Several Gothic traditions have also developed in [[New Zealand]] (with the subgenre referred to as New Zealand Gothic or [[Māori language|Maori]] Gothic)<ref>{{Cite book |last1=Kavka |first1=Misha |title=The Gothic and the everyday: living Gothic |date=16 October 2014 |isbn=978-1-137-40664-4 |pages=225–240 |publisher=Springer }}</ref> and [[Australia]] (known as Australian Gothic). These explore everything from the [[Multiculturalism|multicultural]] natures of the two countries<ref>{{Cite web |title=Hello Darkness: New Zealand Gothic |url=https://robertleonard.org/hello-darkness-new-zealand-gothic/ |website=robertleonard.org |access-date=26 July 2020}}</ref> to their natural geography.<ref>{{Cite web |title=Wide Open Fear: Australian Horror and Gothic Fiction |url=https://www.thisishorror.co.uk/columns/southern-dark/wide-open-fear-australian-horror-and-gothic-fiction/ |website=This Is Horror |access-date=26 July 2020 |date=10 January 2013}}</ref> Novels in the Australian Gothic tradition include [[Kate Grenville]]'s ''[[The Secret River]]'' and the works of [[Kim Scott]].<ref>{{Cite web |last1=Doolan |first1=Emma |title=Australian Gothic: from Hanging Rock to Nick Cave and Kylie, this genre explores our dark side |url=https://theconversation.com/australian-gothic-from-hanging-rock-to-nick-cave-and-kylie-this-genre-explores-our-dark-side-111742 |website=The Conversation |access-date=26 July 2020 |language=en}}</ref> 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]].<ref>{{Cite news |last=Sussex |first=Lucy |date=June 27, 2019 |title=Rohan Wilson's audacious experiment with climate-change fiction |work=[[The Sydney Morning Herald]] |url=https://www.smh.com.au/entertainment/books/rohan-wilson-s-audacious-experiment-with-climate-change-fiction-20190627-p521sk.html |access-date= |quote=The result is a book that while with one foot in Tasmanian Gothic, does represent a personal innovation.}}</ref><ref>{{Cite journal |last=Holgate |first=Ben |date=2014 |title=The Impossibility of Knowing: Developing Magical Realism's Irony in Gould's Book of Fish |url= |journal=Journal of the Association for the Study of Australian Literature (JASAL) |volume=14 |issue=1 |pages= |issn=1833-6027 |quote=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. }}</ref><ref>{{Cite journal |last1=Britten |first1=Naomi |last2=Trilogy |first2=Mandala |last3=Bird |first3=Carmel |date=2010 |title=Re-imagining the Gothic in Contemporary Australia: Carmel Bird Discusses Her Mandala Trilogy |url=https://www.jstor.org/stable/41957860 |journal=Antipodes |volume=24 |issue=1 |pages=98–103 |jstor=41957860 |issn=0893-5580 |quote=Richard Flanagan, Gould's Book of Fish, would have to be Gothic. Tasmanian history is pro-foundly dark and dreadful.| via=JSTOR}}</ref><ref>{{Cite journal |last=Derkenne |first=Jamie |date=2017 |title=Richard Flanagan's and Alexis Wright's Magic Nihilism |url=https://www.jstor.org/stable/10.13110/antipodes.31.2.0276 |journal=Antipodes |volume=31 |issue=2 |pages=276–290 |doi=10.13110/antipodes.31.2.0276 |jstor=10.13110/antipodes.31.2.0276 |issn=0893-5580 |quote=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. |via=}}</ref> Another Australian author, [[Kate Morton]], has penned several homages to classic gothic fiction, among them ''[[The Distant Hours]]'' and ''[[The House at Riverton]]''.<ref>{{Cite web |title=The Distant Hours |url=https://www.bookreporter.com/reviews/the-distant-hours}}</ref>

*{{Cite book |last=Aldana Reyes |first=Xavier |title=Spanish Gothic: National Identity, Collaboration and Cultural Adaptation |year=2017 |publisher=Palgrave Macmillan |isbn=978-1137306005|ref=none}}

*Varma, Devendra (1986), "Maturin, Charles Robert" in Jack Sullivan, ed., ''The Penguin Encyclopedia of Horror and the Supernatural: 285-286285–286''

*[http://www.bl.uk/romantics-and-victorians/themes/the-gothic Gothic Fiction at the British Library] {{Webarchive|url=https://web.archive.org/web/20180525065938/https://www.bl.uk/romantics-and-victorians/themes/the-gothic |date=25 May 2018 }}

*[http://www.bl.uk/romantics-and-victorians/videos/the-gothic Key motifs in Gothic Fiction] {{Webarchive|url=https://web.archive.org/web/20170701084130/http://www.bl.uk/romantics-and-victorians/videos/the-gothic |date=1 July 2017 }} – a British Library film

*[https://web.archive.org/web/20070926221147/http://www.gutenberg.org/wiki/Gothic_Fiction_%28Bookshelf%29(Bookshelf) Gothic Fiction Bookshelf at Project Gutenberg]

{{FantasyScience fiction}}

[[Category:FantasyScience fiction genres]]