Gothic Fiction

First published pseudonymously in 1764, The Castle of Otranto purported to be a translation of an Italian story of the time of the crusades. In it Walpole attempted, as he declared in the Preface to the Second Edition, 'to blend the two kinds of romance: the ancient and the modern.' Crammed with invention, entertainment, terror, and pathos, the novel was an immediate success and Walpole's own favorite among his numerous works. The novel is reprinted here from a text of 1798, the last that Walpole himself prepared for the press.

Victor Frankenstein, a Swiss Scientist, has a great ambition: to create intelligent life. But when his creature first stirs, he realizes he has made a monster

Experience the temptation, pleasure, punishment, and redemption of Christina Rossetti's brilliant poetic masterpiece. First published in 1862, the work is the phantasmagoric tale of two maidens seduced by lewd goblin men, and it provides a startling glimpse into the depths of the Victorian psyche. For children, the story offers a captivating adventure into a land of fantasy. For adults, it's a lyrical and sensual allegory of temptation, sacrifice, and salvation (Amazon).

With a new introduction and notes, this edition of Great Expectations offers new insights into one of Dickens's most fascinating and disturbing novels. Charting the progess of Pip from childhood to adulthood, Dickens shows the dangers of being driven by a desire for wealth and social status. As Pip moves from the Kent marshes to busy, commercial London, encountering many extraordinary characters—from Magwitch, the escaped convict, to Miss Havisham, a woman locked up with her past—he is confronted with the challenge of establishing a sense of his own identity and values contrary to the plans others have for him.

'Among his associates no one loved him, many disliked him, and more feared him.' Father Schedoni is enlisted by the imperious Marchesa di Vivaldi to prevent her son from marrying the beautiful Ellena. Schedoni has no scruples in kidnapping Ellena and in undertaking whatever villainy will further his own ends. His menacing presence dominates a gripping tale of love and betrayal, abduction and assassination, and incarceration in the dreadful dungeons of the Inquisition. Uncertainty and doubt lie everywhere, in Radcliffe's last and most unnerving novel. Ann Radcliffe defined the 'terror' genre of writing and helped to establish the Gothic novel, thrilling readers with her mysterious plots and eerie effects. In The Italian she rejects the rational certainties of the Enlightenment for a more ambiguous and unsettling account of what it is to be an individual— particularly a woman—in a culture haunted by history and dominated by institutional power. This new edition includes Radcliffe's important essay 'On the Supernatural in Poetry', in which she distinguishes terror writing from horror.

Orphaned Jane Eyre grows up in the home of her heartless aunt, where she endures loneliness and cruelty, and at a charity school with a harsh regime. This troubled childhood strengthens Jane's natural independence and spirit—which prove necessary when she finds a position as governess at Thornfield Hall. But when she finds love with her sardonic employer, Rochester, the discovery of his terrible secret forces her to make a choice. Should she stay with him and live with the consequences, or follow her convictions, even if it means leaving the man she loves? A novel of intense power and intrigue, Jane Eyre (1847) dazzled and shocked readers with its passionate depiction of a woman's search for equality and freedom.

This book, written when its author was nineteen years old, is held to be one of the finest of the 'Gothic' novels which enjoyed great popularity in the eighteenth century. It is a violent tale of ambition, murder, and incest, set in the sinister monastery of the Capuchins in Madrid. The great struggle between maintaining monastic vows and the fulfilment of personal ambitions leads its main character, the monk Ambrosio, to temptation and the breaking of his vows, then to sexual obsession and rape, and finally to murder in order to conceal his guilt. The mixture of the supernatural, the horrible, and the carnal, makes this book as sensational as when it was first published in 1796.

The Mysteries of London is a sprawling tableau, seeking to depict life as Reynolds saw it in mid-Victorian London and expose what he viewed as gross injustice toward the poor. Some of the notable storylines involve Richard Markham and Eliza Sydney, two virtuous but ingenuous youths inveigled into the fraudulent schemes of rogues; George Montague, a libertine who appears literally out of nowhere and nearly overnight becomes one of the richest and most powerful men in London; Anthony Tidkins, the 'Resurrection Man,' a ruthless murderer and body-snatcher; and Ellen Monroe, an impoverished girl forced to submit to the worst degradations to earn money to feed her elderly father. The story takes us from royal drawing rooms, offices of cabinet ministers, and chambers of Parliament to the bowels of Newgate prison, the workhouse, and the lowest of taverns and gambling dens as Reynolds unfolds his thrilling plot, which never flags for an instant over the course of nearly 1,200 pages.

Ann Radcliffe's orphaned heroine Emily St. Aubert finds herself imprisoned in her evil guardian Count Montoni's gloomy medieval fortress in the remote Apennines. Terror is the order of the day inside the walls of Udolpho, as Emily struggles against Montoni's rapacious schemes and the threat of her own psychological disintegration [...]. A bestseller in its day and a potent influence on Sade, Poe, and other writers, The Mysteries of Udolpho (1794) is Radcliffe's classic work of Gothic fiction. With its dream-like plot and hallucinatory rendering of its characters' psychological states, the novel remains a profound and fascinating challenge to modern readers.

The good old Count Renaud is dead, and his will makes the degenerate Rhodophil his heir, disinheriting his other son Ferdinand, who has married against his father's wishes. Rhodophil promises to share his new riches with his younger brother and his wife Claudina, but Ferdinand hears a mysterious voice from beyond the grave, warning him to flee his brother and his wife to save himself from sin and death (Goodreads)!

This monumental edition promises to be the most important new contribution to Sherlock Holmes literature since William Baring-Gould's 1967 classic work. In this boxed set, Leslie Klinger, a leading world authority, reassembles Arthur Conan Doyle's 56 classic short stories in the order in which they appeared in late nineteenth- and early twentieth-century book editions. Inside, readers will find a cornucopia of insights: beginners will benefit from Klinger's insightful biographies of Holmes, Watson, and Conan Doyle; history lovers will revel in the wealth of Victorian literary and cultural details; Sherlockian fanatics will puzzle over tantalizing new theories; art lovers will thrill to the 800-plus illustrations, which make this the most lavishly illustrated edition of the Holmes tales ever produced. The New Annotated Sherlock Holmes illuminates the timeless genius of Arthur Conan Doyle for an entirely new generation of readers.

One of the first of Jane Austen's novels to be written, and one of the last to be published, Northanger Abbey is both an amusing story of how a naive girl enters society and wins the affection of a witty young clergyman, and a high-spirited parody of the lurid Gothic novels that were popular during Austen's youth. In the process it features a vivid account of social life in late eighteenth-century Bath, and Austen's famous defence of the novel as a literary form. This edition, based on the text of the novel as published posthumously in 1818, is accompanied by explanatory notes and an appendix summarising the plots and situations of the Gothic fictions that form the basis of much of Austen's comedy. In addition there is an extensive critical introduction covering the context, publication and critical history of the novel, a chronology of Austen's life and an authoritative textual apparatus.

At the great Cornwall estate of Manderley, Maxim de Winter and his frightened new wife try to live with the haunting legacy of Maxim's first wife, the beautiful and cold Rebecca, who died in a sailing accident. The heroine and narrator marries an English aristocrat, Maxim de Winter. They are deeply in love, but the memory of Max's first wife, Rebecca, lingers on. Little by little the mystery of Rebecca's life and death is revealed.

This novel, although not as well-known as Radcliffe's later works, is thought to represent her work at its best. More than just a work of suspense and mystery, it is a work of ideas—a discussion of the contrasts between hedonistic doctrines and a system of education and values.

First published in 1886 as a 'shilling shocker,' Dr Jekyll and Mr Hyde takes the basic struggle between good and evil and adds to the mix bourgeois respectability, urban violence, and class conflict. The result is a tale that has taken on the force of myth in the popular imagination. This Broadview edition provides a fascinating selection of contextual material, including contemporary reviews of the novel, Stevenson's essay 'A Chapter on Dreams,' and excerpts from the 1887 stage version of Dr Jekyll and Mr Hyde. Also included are historical documents on criminality and degeneracy, the 'Jack the Ripper' murders, the 'double brain,' and London in the 1880s. New to this third edition are an appendix on the figure of the Victorian gentleman and an expanded selection of letters related to the novel; the introduction and bibliography have also been updated to reflect recent criticism.

This edition of James's classic novel presents the 1908 New York Edition along with five critical essays—newly commissioned or revised for a student audience—that read The Turn of the Screw from five contemporary critical perspectives. Each critical essay is accompanied by a succinct introduction to the history, principles, and practice of the critical perspective and by a bibliography that promotes further exploration of that approach. In addition, the text and essays are complemented by an introduction providing biographical and historical contexts for James and The Turn of the Screw, a survey of critical responses to the novel since its initial publication, and a glossary of critical and theoretical terms.

In 1816, John William Polidori travelled to Geneva as Lord Byron's personal physician. There they met Mary Godwin (later Shelley) and her lover Percy Shelley and decided to while away a wet summer by writing ghost stories. The only two to complete their stories were Mary Shelley, who published Frankenstein in 1818, and Polidori, whose The Vampyre and Ernestus Berchtold were both published in 1819. The Vampyre, based on a discarded idea of Byron's, is the first portrayal of the alluring vampire figure familiar to readers of Bram Stoker and Anne Rice. Ernestus Berchtold scandalously draws on the rumours of Byron's affair with his half-sister for a Faustian updating of the myth of Oedipus, which it combines with an account of the struggle of Swiss patriots against the Napoleonic invasion. Along with Polidori's work, this edition also includes stories read and written by the travellers in the Genevan summer of 1816 and contemporary responses to The Vampyre and Ernestus Berchtold.

Varney the Vampire or the Feast of Blood is a Victorian-era serialized gothic horror story variously attributed to James Malcolm Rymer and Thomas Peckett Prest. It first appeared in 1845–1847 as a series of weekly cheap pamphlets of the kind then known as 'penny dreadfuls.' The author was paid by the typeset line, so when the story was published in book form in 1847, it was of epic length: the original edition ran to 876 double-columned pages and 232 chapters. Altogether it totals nearly 667,000 words.

Walter Hartright's mysterious midnight encounter with the woman in white draws him into a vortex of crime, poison, kidnapping, and international intrigue.

Over a hundred and fifty years after its initial publication, Emily Brontë's turbulent portrayal of the Earnshaws and the Lintons, two northern English households nearly destroyed by violent passions in the last quarter of the eighteenth century, continues to provoke and fascinate readers. Heathcliff remains one of the best-known characters in the English novel, and Catherine Earnshaw's impossible choice between two rivals retains its appeal for contemporary readers. At the same time, the novel's highly ambivalent representations of domesticity, its famous reticence about its characters and their actions, its formal features as a story within a story, and the mystery of Heathcliff's origins and identity provide material for classroom discussion at every level of study. The introduction and appendices to this Broadview edition, which place Brontë's life and novel in the context of the developing 'Brontë myth,' explore the impact of industrialization on the people of Yorkshire, consider the novel's representation of gender, and survey the ways contemporary scholarship has sought to account for Heathcliff, open up multiple contexts within which Wuthering Heights can be read, understood, and enjoyed.

In describing his proto-Gothic fiction, The Castle of Otranto (1764), as a translation, Horace Walpole was deliberately playing on national anxieties concerning the importation of war, fashion and literature from France in the aftermath of the Seven Years' War. In the last decade of the eighteenth century, as Britain went to war again with France, this time in the wake of revolution, the continuing connections between Gothic literature and France through the realms of translation, adaptation and unacknowledged borrowing led to strong suspicions of Gothic literature taking on a subversive role in diminishing British patriotism. Angela Wright explores the development of Gothic literature in Britain in the context of the fraught relationship between Britain and France, offering fresh perspectives on the works of Walpole, Radcliffe, 'Monk' Lewis and their contemporaries.

Readers familiar with Dracula and The Strange Case of Dr Jekyll and Mr Hyde may not know that dozens of equally remarkable Gothic texts were written in Great Britain at the end of the nineteenth-century. This book accounts for the resurgence of Gothic, and its immense popularity, during the British fin de siècle. Kelly Hurley explores a key scenario that haunts the genre: the loss of a unified and stable human identity, and the emergence of a chaotic and transformative 'abhuman' identity in its place. She shows that such representations of Gothic bodies are strongly indebted to those found in nineteenth-century biology and social medicine, evolutionism, criminal anthropology, and degeneration theory. Gothic is revealed as a highly productive and speculative genre, standing in opportunistic relation to nineteenth-century scientific and social theories.

Gothic Britain is the first collection of essays to consider how the Gothic responds to, and is informed by, the British regional experience. Acknowledging how the so-called United Kingdom has historically been divided upon nationalistic lines, the twelve original essays in this volume interrogate the interplay of ideas and generic innovations generated in the spaces between the nominal kingdom and its component nations and, innovatively, within those national spaces. Concentrating upon fictions depicting England, Scotland and Wales specifically, Gothic Britain comprehends the generic possibilities of the urban and the rural, of the historical and the contemporary, of the metropolis and the rural settlement—as well as exploring, uniquely, the fluid space that is the act of travel itself. Reading the textuality of some two hundred years of national and regional identity, Gothic Britain interrogates how the genre has depicted and questioned the natural and built environments of the Island of Great Britain.

Cultural and individual fantasies of masculinity enter troubling terrain in gothic tales of British and German Romanticism. In the interiority of dreams and visionary spaces, a male protagonist makes a fateful encounter with a supernatural force and finds himself dispossessed of his real and symbolic masculine estate. Emphasising the interdisciplinary range of this recurring motif, Ellen Brinks traces distressed masculinity in canonical instances of gothic imagination—Byron's 'Oriental Tales' and Coleridge's 'Christabel'—but also in works such as Hegel's Phenomenology of Mind, Keats's Hyperion Fragments, and Freud's letters and scientific writings. genres and perplex social and natural distinctions concerning masculinity and male sexuality to produce multiple, often contradictory, identifications. They report, from various sites, increasing anxieties about male effeminacy or the emergence of a male homosexual identity within the fraught cultural desires during the Romantic period and its Freudian afterlife. Masculinity should be of interest to scholars of sexuality, gender, queer theory, Romantic subjectivity, and the German and English Gothic.

Gothic Romanticism: Wordsworth, Architecture, Politics, Form offers a revisionist account of both Wordsworth and the politics of antiquarianism in the late eighteenth and early nineteenth centuries. As a historically-driven study that develops a significant critique and revision of genre- and theory-based approaches to the Gothic, it covers many key works by Wordsworth and his fellow 'Lake Poets' Samuel Taylor Coleridge and Robert Southey. The second edition incorporates new materials that develop the argument in new directions opened up by changes in the field over the last decade. The book also provides a sustained reflection upon Romantic conservatism, including the political thought and lasting influence of Edmund Burke. New material places the book in wider and longer context of the political and historical forms seen developing in Wordsworth, and proposes Gothic Romanticism as the alternative line of cultural development to Victorian Medievalism.

Eighteenth-century England witnessed major social and economic changes, including the commodification of property, person and text through legal containments—enclosure, coverture, primogeniture, copyright. English Gothic authors responded with tropes that worked to dispel the assurances of possession—the contested castle, the beleaguered yet enduring woman, the haunting ghost, the disjointed narrative—warning that seemingly mundane codes of ownership have menacing implications, such as the civil death of women through marriage. This book explores the masterplot of the English Gothic text as a response to the Enlightenment's rational certainty regarding possession of self, property and narrative.

Interrogates the Gothic in relation to Scotland, 'Scottishness', British Gothic, cultural and national boundaries, and issues of identity Written from various critical standpoints by internationally renowned scholars, Scottish Gothic: An Edinburgh Companion interrogates the ways in which the concepts of the Gothic and Scotland have intersected and been manipulated from the mid-eighteenth century to the present day. This interdisciplinary collection is the first ever published study to investigate the multifarious strands of Gothic in Scottish fiction, poetry, theatre and film. Its contributors— all specialists in their fields—combine an attention to socio-historical and cultural contexts with a rigorous close reading of works, both classic and lesser known, produced between the eighteenth and twenty-first centuries.

Theology in the Early British and Irish Gothic, 1764–1832 reassesses the relationship between contemporary theology and the Gothic. Investigating Gothic aesthetics, depictions of the supernatural and portrayals of religious organisations, it explores how the Gothic engages with contemporary theologies, both Dissenting and Anglican. Moving away from the emphasis on either a monolithic Protestantism or on the Gothic as a secular mode, it shows the ways in which the Gothic exploration of the transcendent and the obscure cannot be separated from the diverse theologies of its day. The project maps how the Gothic not only reflects but actively engages in the theological debates and controversies contemporary to its efflorescence.

To what extent did the Gothic haunt the nineteenth century? Victorian Gothic seeks to answer this as it introduces the reader to a timely revision of notions of the Gothic in all its manifestations. The Gothic is found to haunt all aspects of Victorian literature and culture. Moreover, Victorian Gothic connects its disparate areas of research in returning repeatedly to the question of the constitution of the subject, in a study of the Victorians from the 1830s to the 1890s.

Welsh Gothic introduces readers to the array of Welsh Gothic literature published from 1780 to the present day. Calling on postcolonial and psychoanalytic theory, Jane Aaron argues that many of the fears encoded in Welsh Gothic writing are specific to the history of the Welsh and reveal much about the varying ways in which the Welsh people have been perceived and have viewed themselves throughout history. The first part of the book explores Welsh Gothic writing from its beginnings in the last decades of the eighteenth century to 1997. The second part focuses on the figures specific to the Welsh Gothic genre who have entered literature from folklore and local superstition, such as the sin-eater, hellhounds, dark druids, and Welsh witches.