Please use this identifier to cite or link to this item:
|Appears in Collections:||Literature and Languages Book Chapters and Sections|
|Title: ||Contemporary American Gothic|
|Author(s): ||Edwards, Justin D.|
|Contact Email: ||firstname.lastname@example.org|
|Editor(s): ||Weinstock, JA|
|Citation: ||Edwards JD (2017) Contemporary American Gothic. In: Weinstock JA (ed.). Cambridge Companion to the American Gothic. Cambridge Companions to Literature, Cambridge: Cambridge University Press, pp. 71-82.|
|Issue Date: ||Nov-2017|
|Series/Report no.: ||Cambridge Companions to Literature|
|Abstract: ||First paragraph: In the United States, the words ‘contemporary’ and ‘gothic’ go together like zombies and brains. Like a swarming hoard, Gothic is ubiquitous: it is in our novels, our TV programs, on our computer screens and in our movie theatres. It has spread throughout literary and popular culture like a virus, infecting us with a contagion of tropes, figures and images. Gothic consumes and it is consumed by the feeding frenzy of audiences with insatiable appetites. This is seen in the best-selling novels of Stephen King, Anne Rice, Stephenie Meyer, L. J. Smith, Charlaine Harris, as well as in their mutated progeny: films such as The Shining (1980), Interview with a Vampire (1994), Twilight (2008) or TV series such as True Blood (2008-2014) and The Vampire Diaries (2009–). Yet there is also a significant continuity in the aesthetics of the American Gothic from the late 18th century to the present. For instance, there is a continuum between the psychological breakdowns of characters in Edgar Allan Poe’s Gothic stories and those found in Stephen King’s novels. The vampires in works by Rice and Harris are the heirs of the pseudo-vampiric creatures found in H. P. Lovecraft’s ‘The Hound’ (1924) and ‘The Outsider’ (1926). And the generic hybridization of Gothic and Romance in the sagas by Meyer and Smith mirror the blending of Gothic with Romance in Nathaniel Hawthorne’s Scarlet Letter (1850) and House of the Seven Gables (1851). Gothic never dies: it just morphs into different forms at different historical moments.|
|Rights: ||This item has been embargoed for a period. During the embargo please use the Request a Copy feature at the foot of the Repository record to request a copy directly from the author. You can only request a copy if you wish to use this work for your own research or private study.
This material has been published in Cambridge Companion to the American Gothic edited by J Weinstock. This version is free to view and download for personal use only. Not for re-distribution, re-sale or use in derivative works. ©Cambridge University Press, 2017.|
|DOI Link: ||http://dx.doi.org/10.1017/9781316337998.006|
Items in the Repository are protected by copyright, with all rights reserved, unless otherwise indicated.
If you believe that any material held in STORRE infringes copyright, please contact email@example.com providing details and we will remove the Work from public display in STORRE and investigate your claim.