The Gothic Family Romance

Uses 19th and 20th-century Irish Gothic literary texts to argue that capitalism, the nuclear patriarchal family and Protestantism coincided with and reinforced the conditions for the plantation of Ireland and the colonization which followed.

 The late 1960s and early 1970s saw the birth of modern feminism, the sexual revolution, and strong growth in the mass-market publishing industry. Women made up a large part of the book market, and Gothic fiction became a higher popular staple. Victoria Holt, Mary Stewart and Phyllis Whitney emerged as prominent authors, while the standardized paperback Gothic sold in the millions. Pitched at middle-class women of all ages, Gothics paved the way for contemporary fiction categories such as urban fantasy, paranormal romance and vampire erotica. Though not as popular today as they once were, Gothic paperbacks retain a cult following—and the books themselves have become collectors’ items. They were also the first popular novels to present strong heroines as agents of liberation and transformation. This work offers the missing chapters of the Gothic story, from the imaginative creations of Ann Radcliffe and the Brontë sisters to the bestseller 50 Shades of Grey.

This book uses clinical psychoanalytic theory to illustrate how early British Gothic fiction reveals undercurrents of psychopathological behavior. It demonstrates that psychological insights gained from Gothic romance anticipate the later scientific findings of psychoanalysis. Chapters consider the division of the Gothic novel's critical reception between allegory and romance; how the structure of early British Gothic romance parallels Freud's notion of the uncanny; the genre's perverse origins in Walpole's The Castle of Otranto; sexual differentiation and the parallel between development of Gothic romance an development of the psyche; Ann Radcliffe and the terror of hysteria; Matthew Lewis and obsessional neurosis; and the confusion between self and other in Hogg's The Private Memoirs and Confessions of a Justified Sinner.

"The Romance of Certain Old Clothes" is a terrifying ghost story by American-British author Henry James. It begins in the 18th century in Massachusetts and features the Willoughby family, with a widowed mother, one son named Bernard, and two daughters. The main plot follows the two sisters of the family who want the same man.

Amy Goodnight knows that the world isn't as simple as it seems. She also understands that "normal" doesn't mix with magic, and she's worked hard to build a wall between the two worlds. Not only to protect her family, who are all practicing witches, but to protect any hope of ever having a normal life herself. Ranch-sitting for her aunt in Texas should be exactly that: good old ordinary, uneventful hard work. Only, Amy and her sister, Phin, aren't alone. There's someone else in the house with them--and it's not the living, breathing, amazingly hot cowboy from the ranch next door. It's a ghost, and it's more powerful than the Goodnights and all their protective spells combined. It wants something from Amy, and none of her carefully built defenses can hold it back. This is the summer when the wall between Amy's worlds is going to come crashing down. A Kirkus Reviews Best Book of the Year An ALA-YALSA Best Book for Young Adults Praise for Texas Gothic: [Star] "You can't get much more Nancy Drew. . . . This engaging mystery has plenty of both paranormal and romance, spiced with loving families and satisfyingly packed with self-sufficient, competent girls."--Kirkus Reviews, Starred [Star] "Teens looking for a rollicking adventure filled with paranormal events, dastardly evildoers, and laugh-out-loud moments as Amy and Ben argue and snipe their way to love will adore this book."--School Library Journal, Starred "The author mixes suspense, humor, and lots of local flavor. . . . The enjoyable sum is a lively teen ghost story with sex appeal."--The Horn Book "A deeply affectionate rendering of Texas landscapes and legends combines with an appealing cast of well-developed characters to give texture to this well-plotted mystery; truly scary moments are balanced by the humorous bumbles of the awkwardly developing romance between Amy and Ben, as well as Phin's sublime cluelessness about the way her eccentricities appear to other people."--The Bulletin

Lee Mandelo's debut Summer Sons is a sweltering, queer Southern Gothic that crosses Appalachian street racing with academic intrigue, all haunted by a hungry ghost. Andrew and Eddie did everything together, best friends bonded more deeply than brothers, until Eddie left Andrew behind to start his graduate program at Vanderbilt. Six months later, only days before Andrew was to join him in Nashville, Eddie dies of an apparent suicide. He leaves Andrew a horrible inheritance: a roommate he doesn’t know, friends he never asked for, and a gruesome phantom that hungers for him. As Andrew searches for the truth of Eddie’s death, he uncovers the lies and secrets left behind by the person he trusted most, discovering a family history soaked in blood and death. Whirling between the backstabbing academic world where Eddie spent his days and the circle of hot boys, fast cars, and hard drugs that ruled Eddie’s nights, the walls Andrew has built against the world begin to crumble. And there is something awful lurking, waiting for those walls to fall. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

ISHMAEL JONES IS ON THE CASE. Paranormal private detective Ishmael Jones is invited to his employer's country house for Christmas just in time to become embroiled in a locked-room mystery with a supernatural twist. CALL HIM ISHMAEL . . . Ishmael Jones. He's used to keeping a low profile, living under the radar and on the dark side of the road. He makes his living solving mysteries and uncovering dark secrets some would prefer to stay hidden. But when he's invited by his employer—a man known only as "The Colonel"—to spend Christmas at the Colonel's sprawling country house, Ishmael Jones decides to come in from the dark for some holiday cheer. Jones arrives at the remote Belancourt Manor in the midst of a blizzard only to discover that the Colonel has gone missing. It soon becomes clear that the guests are harboring dark secrets—and that it will be up to Ishmael Jones to stop a savage killer. A locked-room, country house mystery with a supernatural twist as only Simon R. Green could write it. At the publisher's request, this title is sold without DRM (Digital Rights Management). About Simon R. Green: “A macabre and thoroughly entertaining world.” —Jim Butcher on the Nightside series “A splendid riddle wrapped in a mystery inside an enigma, conveyed with trademark wisecracking humor, and carried out with maximum bloodshed and mayhem. In a word, irresistible.” —Kirkus, Starred Review of Simon R. Green's Night Fall “[F]or those who want a fantasy-genre mash-up that doesn’t slow down.” —Booklist on From a Drood to a Kill “Simon R. Green is a great favorite of mine. It’s almost impossible to find a writer with a more fertile imagination than Simon. He’s a writer who seems endlessly inventive.” —Charlaine Harris

Gothic Antiquity: History, Romance, and the Architectural Imagination, 1760-1840 provides the first sustained scholarly account of the relationship between Gothic architecture and Gothic literature (fiction; poetry; drama) in the late eighteenth and early nineteenth centuries. Although the relationship between literature and architecture is a topic that has long preoccupied scholars of the literary Gothic, there remains, to date, no monograph-length study of the intriguing and complex interactions between these two aesthetic forms. Equally, Gothic literature has received only the most cursory of treatments in art-historical accounts of the early Gothic Revival in architecture, interiors, and design. In addressing this gap in contemporary scholarship, Gothic Antiquity seeks to situate Gothic writing in relation to the Gothic-architectural theories, aesthetics, and practices with which it was contemporary, providing closely historicized readings of a wide selection of canonical and lesser-known texts and writers. Correspondingly, it shows how these architectural debates responded to, and were to a certain extent shaped by, what we have since come to identify as the literary Gothic mode. In both its 'survivalist' and 'revivalist' forms, the architecture of the Middle Ages in the long eighteenth century was always much more than a matter of style. Incarnating, for better or for worse, the memory of a vanished 'Gothic' age in the modern, enlightened present, Gothic architecture, be it ruined or complete, prompted imaginative reconstructions of the nation's past--a notable 'visionary' turn, as the antiquary John Pinkerton put it in 1788, in which Gothic writers, architects, and antiquaries enthusiastically participated. The volume establishes a series of dialogues between Gothic literature, architectural history, and the antiquarian interest in the material remains of the Gothic past, and argues that these discrete yet intimately related approaches to vernacular antiquity are most fruitfully read in relation to one another.

The Gothic World offers an overview of this popular field whilst also extending critical debate in exciting new directions such as film, politics, fashion, architecture, fine art and cyberculture. Structured around the principles of time, space and practice, and including a detailed general introduction, the five sections look at: Gothic Histories Gothic Spaces Gothic Readers and Writers Gothic Spectacle Contemporary Impulses. The Gothic World seeks to account for the Gothic as a multi-faceted, multi-dimensional force, as a style, an aesthetic experience and a mode of cultural expression that traverses genres, forms, media, disciplines and national boundaries and creates, indeed, its own ‘World’.