‘Neo-Gothic Narratives’ defines and theorises what, exactly, qualifies as such a text, what mobilises the employment of the Gothic to speak to our own times, whether nostalgia plays a role and whether there is room for humour besides the sobriety and horror in these narratives across various media. What attracts us to the Gothic that makes us want to resurrect, reinvent, echo it? Why do we let the Gothic redefine us? Why do we let it haunt us? Does it speak to us through intertexuality, self-reflectivity, metafiction, immersion, affect? Are we reclaiming the history of women and other subalterns in the Gothic that had been denied in other forms of history? Are we revisiting the trauma of English colonisation and seeking national identity? Or are we simply tourists who enjoy cruising through the otherworld? The essays in this volume investigate both the readerly experience of Neo-Gothic narratives as well as their writerly pastiche.
About the Author
Sarah E. Maier is professor of English and comparative literature at the University of New Brunswick, Canada.
Brenda Ayres is professor of English teaching a wide array of English online courses through Liberty University and Southern New Hampshire University, USA.
Table of Contents
Introduction, Sarah E. Maier and Brenda Ayres; 1. The Devil Has Red Hair, Brenda Ayres; 2. The Persistence of the House: The Defamiliarisation of Gothic Tropes in Neo-Gothic Novels, Julian Wolfreys; 3. Frankenstein’s Doubles, Daniel Downes; 4. Toxic Neo-Gothic Masculinity: Mr. Hyde and Tyler Durden, Martin Danahay; 5. Theorising Race and the New Imperial Gothic in Neo-Victorian Returns to Wuthering Heights, Carol Davison; 6. ‘Here We Are, “Again”!’: Textual Painting as Neo-Gothic Narrative, from Peter Ackroyd’s ‘Dan Leno and the Limehouse Golem’ to ‘The Limehouse Golem’, Ashleigh Prosser; 7. Queer Desires: Polymorphous Sexuality in Anne Rice’s ‘The Vampire Chronicles’, Laura Davidel; 8. Haunted Cultures, Haunting Lives: The Neo-Gothic in Australian Postcolonial Novels, Karen Livett; 9. The Blood Is the (After)Life: Vampirism, Science and Neo-Gothicism in ‘Dark Shadows’, ‘Ripper Street’, and ‘The Passage’, Jamil Mustafa; 10. ‘Hill House’: Neo-Gothic Adaptation as a Revenant, Barbara Braid; 11. “It Is Not Life That Makes Me Move”: Brainstorming about/with the Self-Aware Zombie, Karen E. Macfarlane; 12. Neo-Gothic Dinosaurs and the Haunting of History, Jessica Gildersleeve and Nike Sulway; 13. Doctor Who’s Shaken Faith in Science: Mistrusting Science from the Gothic to the Neo-Gothic, Geremy Carnes; 14. Peculiar(ly) Monstrous: Ransom Riggs and the Children of the Syndrigast, Sarah E. Maier; Index.