This is the first full-length study to examine the links between high Romantic literature and what has often been thought of as a merely popular genre - the Gothic. Michael Gamer offers a sharply focused analysis of how and why Romantic writers drew on Gothic conventions whilst, at the same time, denying their influence in order to claim critical respectability. He shows how the reception of Gothic literature, including its institutional and commercial recognition as a form of literature, played a fundamental role in the development of Romanticism as an ideology. In doing so he examines the early history of the Romantic movement and its assumptions about literary value, and the politics of reading, writing and reception at the end of the eighteenth century. As a whole the book makes an original contribution to our understanding of genre, tracing the impact of reception, marketing and audience on its formation.

This book debates a crossover between the Gothic and the medical imagination in the Romantic period. It explores the gore and uncertainty typical of medical experimentation, and expands the possibilities of medical theories in a speculative space by a focus on Gothic novels, short stories, poetry, drama and chapbooks. By comparing the Gothic’s collection of unsavoury tropes to morbid anatomy’s collection of diseased organs, the author argues that the Gothic’s prioritisation of fear and gore gives it access to nonnormative bodies, reallocating medical and narrative agency to bodies considered otherwise powerless. Each chapter pairs a trope with a critical medical debate, granting silenced bodies power over their own narratives: the reanimated corpse confronts fears about vitalism; the skeleton exposes fears about pain; the unreliable corpse feeds on fears of dissection; the devil redirects fears about disability; the dangerous narrative manipulates fears of contagion and vaccination.

"Traces the Gothic impulses in proto-Romantic and Romantic British, American and European culture, 1740-1830"--Quatrième de couverture.

American Gothic Art and Architecture in the Age of Romantic Literature analyses the impact British Gothic novels and historical romances had on American art and architecture in the Romantic era. Key figures include Thomas Jefferson, Washington Allston, Alexander Jackson Davis, James Fenimore Cooper, Washington Irving, Thomas Cole, Edwin Forrest and Nathaniel Hawthorne. Hawthorne articulated the subject of this book when he wrote that he could understand Sir Walter Scott’s romances better after viewing Scott’s Gothic Revival house Abbotsford, and he understood the house better for having read the romances. This study investigates this symbiotic relationship between the arts and Gothic literature to reveal new interpretative possibilities. Contents Introduction Chapter One. Gothic Monticello: Thomas Jefferson’s Garden Narratives Chapter Two. ‘Banditti Mania’: The Gothic Haunting of Washington Allston Chapter Three. ‘Arranging the Trap Doors’: The Gothic Revival Castles of Alexander Jackson Davis Chapter Four. Old Dwellings Transmogrified: The Homes of James Fenimore Cooper and Washington Irving Chapter Five. Gothic Castles in the Landscape: Thomas Cole, Sir Walter Scott And the Hudson River School of Painting Chapter Six. The Theatrical Spectacle of Medieval Revival: Edwin Forrest’s Fonthill Castle Conclusion. ‘Clap It Into a Romance:’ Nathaniel Hawthorne’s Gothic Houses

An intriguing scholarly investigation, not so much of the ways the late eighteenth and early nineteenth centuries articulated pain, but of the ways in which pain itself articulated the late eighteenth-century experience. Through analysis of novels, plays, and poems, the author explores the transition from sensibility as a sense of "selflessness" to Romanticism, which puts the self in the foreground as the mediating consciousness. His tightly focused discussion sets a starting point for further critical investigation of the subject.

A psychological horror with a literary twist, Kill Creek delivers elevated prose, while evoking the unnerving, atmospheric terror essential to greats like Peter Straub and Stephen King—a haunting that lingers long after turning the last page.

Melmoth the Wanderer (1820) is a novel by Charles Maturin. Written toward the end of Maturin’s life, Melmoth the Wanderer was the author’s fifth and most successful novel. Inspired by the story of the Wandering Jew and the Faustian legend, the novel is a powerful Gothic romance divided into nested stories, each one delving deeper into the mystery of Melmoth’s life. Often interpreted for its criticisms of 19th century Britain and the Catholic Church, Melmoth the Wanderer is considered one of the greatest novels of the Romantic era. Following a lead from a story told at his uncle’s funeral, John Melmoth, a student from Dublin, begins an obsessive search into his family’s mysterious past. Little is known about the man called “Melmoth the Traveller.” A portrait dated 1646 suggests that he has been dead for over a century. Despite this, he discovers a manuscript from a stranger named Stanton who claims to have seen Melmoth on several occasions over the past few decades. John tracks him down and finds him at a mental institution, where he was placed when his obsession with Melmoth was deemed insanity. Disturbed, John burns the portrait and attempts to put his questions behind him. Soon, he begins having visions of his own. Melmoth the Wanderer is a story of mystery and terror that engages with timeless themes of faith, fantasy, and the thin line between dreams and life. With a beautifully designed cover and professionally typeset manuscript, this edition of Charles Maturin’s Melmoth the Wanderer is a classic of Irish literature reimagined for modern readers.

Gothic Romanticism, winner of the 2010 MLA Prize for Independent Scholars, is a study of the relationship between British Romanticism and the Gothic Revival. Reading a wide range of canonical and raretexts, and spanning the Romantic discourses of architecture, politics, and literary form, the book recovers the collaborative project of Wordsworth, Coleridge, and Southeyfor a purified 'Gothic' poetry and a 'second Gothic' culture.