Gothic Literature in America

2017 ◽  
pp. 109-130
Author(s):  
Agnieszka Soltysik Monnet
Keyword(s):  
Anglophonia ◽  
2004 ◽  
Vol 15 (1) ◽  
pp. 105-118 ◽  
Author(s):  
Robert Augustin Smart ◽  
Michael Hutcheson
Keyword(s):  

2021 ◽  

Mary Wollstonecraft Shelley conceived of the central idea for Frankenstein; or, the Modern Prometheus—most often referred to simply as Frankenstein—during the summer of 1816 while vacationing on Lake Geneva in Switzerland. It is her first and most famous novel. Although the assertion is debatable, some scholars have argued that Frankenstein is the first work of modern science fiction. Shelley was inspired to write Frankenstein in response to a “ghost story” writing contest between herself, Percy Shelley, Percy Shelley’s physician and friend John Polidori, and Lord Byron, who were trapped indoors reading German ghost stories as the result of inclement weather. Polidori’s contribution to this contest, “The Vampyre: A Tale” (1819), influenced the development of Gothic literature. According to Shelley, she drew inspiration from a nightmare she had, which she attributed to discussions she overheard between Percy and Byron regarding experiments with electricity and animation. Shelley began working on the novel when she returned home to England in September, and the book’s first edition was published anonymously in 1818. Shelley’s father William Godwin made minor revisions for a second edition in 1821; and Shelley herself made more substantial changes for the third edition in 1831. The story is told through an epistolary frame, and follows Victor Frankenstein, a university student of the “unhallowed arts” who assembles, animates, and abandons an unnamed human-like creature. The creature goes on to haunt his creator both literally and metaphorically. Over the past two hundred years, the story has been widely influential, and re-interpreted in various forms of culture and media. In literary studies, scholars have discussed which edition of the text is the “truest” to Mary Shelley’s intended vision. The novel has been analyzed for its messages about human pride and hubris, the pursuit of knowledge, the nature/nurture question, as put forth by Rousseau, ethical questions in medicine and science, and family, gender, and reproduction, among other topics.


2017 ◽  
pp. 115-128
Author(s):  
Scott Brewster

As Angela Wright has noted, in Scottish Gothic literature, graves and manuscripts are ‘warmly contested sites of authenticity and authority’ (2007: 76). The burial ground excavated at the end of James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824) is just such a contested memorial: the grave that harbours an uncanny tale of religious fundamentalism, or diabolical possession, does not readily give up its secrets. Robert Wringhim’s corpse preserves a manuscript whose provenance, and legacy, cannot be determined. The exhumed body releases its enigmatic text into circulation, and this final resting place becomes an opening to future readings. In his antiquarian or archaeological – and thus typically Gothic – effort to authenticate Wringhim’s memoir, the Editor’s narrative draws on ‘history, justiciary records, and tradition’ (Hogg 2002c: 64) to frame the ‘singular’ document whose ‘drift’ (2002c: 174) he cannot comprehend. Yet the ‘sequel’ to these narratives (it is actually a beginning) returns us to Hogg’s home territory of the Borders.


Author(s):  
Arthur Redding

This chapter notes how traditional American gothic literature has been largely motivated by racial dread and fears of miscegenation. It then argues that many contemporary ethno-fiction writers repurpose gothic tropes and idioms to two ends. The first is to critique anxieties of American gothic in order to expose the racialism embedded in the assimiliationist and hegemonic narrative of upward mobility defined by the ethnic ‘melting pot’. The second is to use these gothic redeployments imaginatively to disinter the voices of those legions who have died and disappeared, un-mourned.


2000 ◽  
Vol 7 (1) ◽  
pp. 119-144
Author(s):  
Carol Davison
Keyword(s):  

Author(s):  
Georgy A. Veligorsky ◽  

In this article we will talk about the unusual topos that occurs in Victorian and Edwardian literature — the “revived” estate. Indirectly going back to Gothic literature and the “horror literature” that inherited it (where the house can come to life literally, become harmful, frightening and even mortally dangerous for the inhabitant), however, it develops in a completely different way. The ghosts that inhabit the rooms of such a mansion are the guardians of a good and bright memory, “hidden joy”; embodied by the past, who lives in a shaky, invisible world. These ghosts have many hypostases: sometimes they turn out to be just a figment of the tenant’s imagination, and sometimes they are a real poltergeist, but not frightening, but protecting and preserving (W. Woolf, “A Haunted House”). Another manifestation of this topos can be called a house that comes to life, when the hero distinguishes between the beating of his heart (as happens in the novel by E.M. Forster “Howards End”) or hears a whisper of voices in the curtains shaken by the wind. The combination of these two motives (poltergeist and living house) is also found in the works of modernists (W. Woolf, “Orlando: A Biography”). Of particular interest is the image of a revived estate house in children’s literature; in this vein, we will consider the novel by Ph. Pierce, “Tom’s Midnight Garden”.


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