ISSN / EISSN : 1362-7937 / 2050-456X
Published by: Edinburgh University Press (10.3366)
Total articles ≅ 468
Latest articles in this journal
Gothic Studies, Volume 23; https://doi.org/10.3366/gothic.2021.0100
Gothic Studies, Volume 23, pp 127-131; https://doi.org/10.3366/gothic.2021.0089
Gothic Studies, Volume 23, pp 235-238; https://doi.org/10.3366/gothic.2021.0097
Gothic Studies, Volume 23, pp 217-232; https://doi.org/10.3366/gothic.2021.0095
East Anglia is an evasive region; with its stretches of grey shingle that give way to silt and water, isolated marshes and great, flat panoramas that are literally falling into the sea. This article will show that East Anglia is a broader and more cohesive site of Gothic tradition and possibility than has previously been recognized, even if that possibility is found both textually and topographically in the incohesive, the ephemeral and the immaterial. We will also suggest that the short form is how this has so far been achieved – most famously in the short ghostly tales of M. R. James; more recently in Matthew Holness's unsettling short story ‘Possum’ (2013) and his 2018 film of the same name – and is, in fact, the most appropriate form for this act of textual production.
Gothic Studies, Volume 23, pp 238-241; https://doi.org/10.3366/gothic.2021.0098
Gothic Studies, Volume 23; https://doi.org/10.3366/gothic.2021.0088
Gothic Studies, Volume 23, pp 233-235; https://doi.org/10.3366/gothic.2021.0096
Gothic Studies, Volume 23, pp 181-200; https://doi.org/10.3366/gothic.2021.0093
Between 1884 and 1936, Rudyard Kipling wrote over 300 short stories, most of which were first published in colonial and cosmopolitan periodicals before being reissued in short-story collections. This corpus contains a number of critically neglected Gothic stories that fall into four groups: stories that belong to the ghost-story tradition; stories that represent the colonial encounter through gothic tropes of horror and the uncanny but do not necessarily include any supernatural elements; stories that develop an elegiac and elliptical Gothic Modernism; and stories that make use of the First World War and its aftermath as a gothic environment. This essay evaluates Kipling's contribution to the critically neglected genre of the Gothic short story, with a focus on the stories' persistent preoccupation with spatial tropes of travel, disorientation and displacement.
Gothic Studies, Volume 23, pp 163-180; https://doi.org/10.3366/gothic.2021.0092
This article uses a critical framework that draws on the Gothic carnival, children’s Gothic, and Female Gothic to analyse the understudied spooky stories of British comics. It begins by surveying the emergence of short-form horror in American and British comics from the 1950s onwards, which evolved into a particular type of girls’ weekly tale: the ‘Strange Story.’ It then examines the way that the British mystery title Misty (IPC, 1978–80) developed this template in its single stories. This focuses on four key attributes: the directive role of a host character, an oral tone, content that includes two-dimensional characters and an ironic or unexpected plot reversal, and a narrative structure that drives exclusively towards this final point. The article argues that the repetition of this formula and the tales’ short format draw attention to their combination of subversion/conservatism and horror/humour: foregrounding a central paradox of Gothic.
Gothic Studies, Volume 23, pp 201-216; https://doi.org/10.3366/gothic.2021.0094
The Gothic short form in Latin America has yet to receive focused scholarly attention. Yet, despite no early Gothic novel tradition to speak of, the Gothic mode emerged in poetry and short fiction, representing particular anxieties and colonial/postcolonial realities specific to the region owing in part to a significant increase in periodicals. Focusing on two case studies – Clemente Palma's ‘La granja blanca’ (Peru, 1904) and Horacio Quiroga's ‘El almohadón de plumas’ (Uruguay, 1917) – this article will explore how Latin American authors classified as modern, modernista, and criollista were experimenting with Gothic forms, adapting the design of the traditional Gothic novel to intensify its effect and reach a wider readership. Demonstrating a particular influence of Poe, a unity of effect is created, one that suggests that the home is a place of horrors, not comfort, and the uniquely horrifying settings and plot ultimately challenge established moral codes and literary tendencies.