By Charles L. Crow
A better half to American Gothic includes a choice of unique essays that discover America’s gothic literary tradition.
- The greatest number of essays within the box of yank Gothic
- Contributions from a wide selection of students from round the world
- The such a lot entire assurance of idea, significant authors, pop culture and non-print media available
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Extra info for A companion to American gothic
Lloyd-Smith sees this process unfolding repeatedly in the gender politics of American Gothic texts from Alcott and Gilman to William Gibson, where characters who seek the illusion of sexual consistency according to dominant norms “abject” all other tendencies, particularly alternative sexualities, in themselves to make them appear in monstrous, othered guises as though they were “over there” in aberrant and un-American locations of horror – Gilman’s “yellow wallpaper” or Jackson’s Hill House, say – and not in the presented, “acceptable” public self (see Lloyd-Smith 2004: 97–108 and 158–160).
Walcott 1992: 196) The whale, the white whale is of course endlessly inscribed, marked, mapped by the harpoon, scored by commerce and bloodlust: but behind these inscriptions, these frenetic attempts to effect a signature on a conquered new world, there lie, it would appear, other inscriptions, other signs which can no longer be read, which have been erased and yet which remain to haunt. And thus the act of writing itself becomes implicated in the myth of a new land. Where is the white slate, the tabula rasa, which can be inscribed without doing damage to previous inscription, or without unwittingly revealing the palimpsest?
G. Wells’s The Time Machine the year before, first the Classics Comics version and then the whole book. This cylinder with its vented iron cap reminded him of the wells which lead down into the country of the slumped and horrible Morlocks. (King 1986: 211) Gothic, Theory, Dream 19 It is just a standpipe; yes, of course sometimes a pipe is just a standpipe. But it leads downwards – as a standpipe must do, even as it also leads upwards – into the unimaginable, the imaginary. It leads down into a kind of past, into a set of residues which lie behind and beneath the present town, a place which may still be operative but which may have been long abandoned.
A companion to American gothic by Charles L. Crow