![]() ![]() Du Maurier’s work inspired a substantial body of “female Gothics”, concerning heroines alternately swooning over or being terrified by scowling Byronic men in possession of acres of prime real estate and the appertaining droit du seigneur.Įducators in literary, cultural, and architectural studies appreciate the Gothic as an area that facilitates the investigation of the beginnings of scientific certainty. Other books by du Maurier, such as Jamaica Inn (1936), also display Gothic tendencies. The Romantic strand of Gothic was taken up in Daphne du Maurier’s Rebecca (1938) which is considered by some to be influenced by Charlotte Brontë’s Jane Eyre. Brite, Stephen King and particularly Clive Barker have focused on the surface of the body and the visuality of blood. Disch’s novel The Priest (1994) was subtitled A Gothic Romance, and was partly modelled on Matthew Lewis’ The Monk. Brite and Neil Gaiman as well as some of the sensationalist works of Stephen King Thomas M. Many modern writers of horror (or indeed other types of fiction) exhibit considerable Gothic sensibilities-examples include the works of Anne Rice, Stella Coulson, Susan Hill, Poppy Z. Robertson Davies, Alice Munro, Barbara Gowdy, Timothy Findley and Margaret Atwood have all produced works that are notable exemplars of this form.Īnother writer in this tradition was Henry Farrell, whose best-known work was the 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 Southern Ontario Gothic applies a similar sensibility to a Canadian cultural context. Examples include William Faulkner, Eudora Welty, Truman Capote, Flannery O’Connor, Davis Grubb, Anne Rice and Harper Lee.Ĭontemporary American writers in this tradition include Joyce Carol Oates, in such novels as Bellefleur and A Bloodsmoor Romance and short story collections such as Night-Side (Skarda 1986b) and Raymond Kennedy in his novel Lulu Incognito. The genre also influenced American writing to create the Southern Gothic genre, which combines some Gothic sensibilities (such as the grotesque) with the setting and style of the Southern United States. Outside of companies like Lovespell, who carry Colleen Shannon, very few books seem to be published using the term today. Another example is British writer Peter O’Donnell, who wrote under the pseudonym Madeleine Brent. For instance the prolific Clarissa Ross and Marilyn Ross were pseudonyms for the male writer Dan Ross, and Frank Belknap Long published Gothics under his wife’s name, Lyda Belknap Long. Though the authors were mostly women, some men wrote Gothic romances under female pseudonyms. Many were published under the Paperback Library Gothic imprint and were marketed to a female audience. Many featured covers depicting a terror-stricken woman in diaphanous attire in front of a gloomy castle, often with a single lit window. Whitney, Joan Aiken, Dorothy Eden, Victoria Holt, Barbara Michaels, Mary Stewart, and Jill Tattersall. Gothic Romances of this description became popular during the 1950s, 1960s, and 1970s, with authors such as Phyllis A. From these, the Gothic genre per se gave way to modern horror fiction, regarded by some literary critics as a branch of the Gothic although others use the term to cover the entire genre. Lovecraft’s protégé, Robert Bloch, contributed to Weird Tales and penned Psycho (1959), which drew on the classic interests of the genre. ![]() Lovecraft who also wrote a conspectus of the Gothic and supernatural horror tradition in his Supernatural Horror in Literature (1936) as well as developing a Mythos that would influence Gothic and contemporary horror well into the 21st century. In America pulp magazines such as Weird Tales reprinted classic Gothic horror tales from the previous century, by such authors as Poe, Arthur Conan Doyle, and Edward Bulwer-Lytton and printed new stories by modern authors featuring both traditional and new horrors. Notable English 20th-century writers in the Gothic tradition include Algernon Blackwood, William Hope Hodgson, M. The compilation was done according to rules based on Burke’s theory of the sublime and literary models such as the Jacobean drama or the medieval romance. At the same time, the horror became a deliberately created aesthetic commodity that sold well. ![]() In the guise of the horror novel, English literature at the end of the eighteenth century resumed the supernatural and unconventional superseded by the rationality of the Enlightenment. Gothic fiction or the gothic novel is a literary genre of fantasy, the mid-18th century in England originated and flourished in the early 19th century. ![]()
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