In this ground-breaking study Saggini explores the relationship between the late eighteenth-century novel and the theatre, arguing that the implicit theatricality of the Gothic novel made it an obvious source from which dramatists could take ideas. Similarly, elements of the theatre provided inspiration to novelists.

Gothic as a form of fiction-making has played a major role in Western culture since the late eighteenth century. In this volume, fourteen world-class experts on the Gothic provide thorough and revealing accounts of this haunting-to-horrifying type of fiction from the 1760s (the decade of The Castle of Otranto, the first so-called 'Gothic story') to the end of the twentieth century (an era haunted by filmed and computerized Gothic simulations). Along the way, these essays explore the connections of Gothic fictions to political and industrial revolutions, the realistic novel, the theatre, Romantic and post-Romantic poetry, nationalism and racism from Europe to America, colonized and post-colonial populations, the rise of film and other visual technologies, the struggles between 'high' and 'popular' culture, changing psychological attitudes towards human identity, gender and sexuality, and the obscure lines between life and death, sanity and madness. The volume also includes a chronology and guides to further reading.

A fully updated edition of David J. Skal's Hollywood Gothic, "The ultimate book on Dracula" (Newsweek). The primal image of the black-caped vampire Dracula has become an indelible fixture of the modern imagination. It's recognition factor rivals, in its own perverse way, the familiarity of Santa Claus. Most of us can recite without prompting the salient characteristics of the vampire: sleeping by day in its coffin, rising at dusk to feed on the blood of the living; the ability to shapeshift into a bat, wolf, or mist; a mortal vulnerability to a wooden stake through the heart or a shaft of sunlight. In this critically acclaimed excursion through the life of a cultural icon, David J. Skal maps out the archetypal vampire's relentless trajectory from Victorian literary oddity to movie idol to cultural commodity, digging through the populist veneer to reveal what the prince of darkness says about us all. includes black-and-white Illustrations throughout, plus a new Introduction.

Bram Stoker, Dracula and the Victorian Gothic Stage re-appraises Stoker's key fictions in relation to his working life. It takes Stoker's work from the margins to centre stage, exploring how Victorian theatre's melodramatic and Gothic productions influenced his writing and thinking.

'The Romance of the Forest' evokes a world drenched in both horror and natural splendor, beset with abductions and imprisonments, and centered upon the frequently terrified but still resourceful and determined heroine Adeline.

One of the central images conjured up by the gothic novel is that of a shadowy spectre slowly rising from a mysterious abyss. In The Rise of the Gothic Novel, Maggie Kilgour argues that the ghost of the gothic is now resurrected in the critical methodologies which investigate it for the revelation of buried cultural secrets. In this cogent analysis of the rise and fall of the gothic as a popular form, Kilgour juxtaposes the writings of William Godwin with Mary Wollstonecraft, and Ann Radcliffe with Matthew Lewis. She concludes with a close reading of the quintessential gothic novel, Mary Shelley's Frankenstein. An impressive and highly original study, The Rise of the Gothic Novel is an invaluable contribution to the continuing literary debates which surround this influential genre.

Set in England during the period of the French Revolution, The Wanderer chronicles the ordeals of an ́emigr ́ee's escape from France and the Terror and her attempts to earn a living while guarding her own secrets. Tracing the heroine's progress through a cross-section of English working life, this novel covers various social issues--from racism, to feminism--in its critique of the English middle class.

In Backstage in the Novel, Francesca Saggini traces the unique interplay between fiction and theater in the eighteenth century through an examination of the work of the English novelist, diarist, and playwright Frances Burney. Moving beyond the basic identification of affinities between the genres, Saggini establishes a literary-cultural context for Burney's work, considering the relation between drama, a long-standing tradition, and the still-emergent form of the novel. Through close semiotic analysis, intertextual comparison, and cultural contextualization, Saggini highlights the extensive metatextual discourse in Burney's novels, allowing the theater within the novels to surface. Saggini’s comparative analysis addresses, among other elements, textual structures, plots, characters, narrative discourse, and reading practices. The author explores the theatrical and spectacular elements that made the eighteenth-century novel a hybrid genre infused with dramatic conventions. She analyzes such conventions in light of contemporary theories of reception and of the role of the reader that underpinned eighteenth-century cultural consumption. In doing so, Saggini contextualizes the typical reader-spectator of Burney’s day, one who kept abreast of the latest publications and was able to move effortlessly between "high" (sentimental, dramatic) and "low" (grotesque, comedic) cultural forms that intersected on the stage. Backstage in the Novel aims to restore to Burney's entire literary corpus the dimensionality that characterized it originally. It is a vivid, close-up view of a writer who operated in a society saturated by theater and spectacle and who rendered that dramatic text into narrative. More than a study of Burney or an overview of eighteenth-century literature and theater, this book gives immediacy to an understanding of the broad forces informing, and channeled through, Burney's life and work.

NEW YORK TIMES BESTSELLER • “It’s Lovecraft meets the Brontës in Latin America, and after a slow-burn start Mexican Gothic gets seriously weird.”—The Guardian IN DEVELOPMENT AS A HULU ORIGINAL LIMITED SERIES PRODUCED BY KELLY RIPA AND MARK CONSUELOS • ONE OF TIME’S 100 BEST MYSTERY AND THRILLER BOOKS OF ALL TIME • WINNER OF THE LOCUS AWARD • NOMINATED FOR THE BRAM STOKER AWARD ONE OF THE BEST BOOKS OF THE YEAR: The New Yorker, Vanity Fair, NPR, The Washington Post, Tordotcom, Marie Claire, Vox, Mashable, Men’s Health, Library Journal, Book Riot, LibraryReads An isolated mansion. A chillingly charismatic aristocrat. And a brave socialite drawn to expose their treacherous secrets. . . . From the author of Gods of Jade and Shadow comes “a terrifying twist on classic gothic horror” (Kirkus Reviews) set in glamorous 1950s Mexico. After receiving a frantic letter from her newly-wed cousin begging for someone to save her from a mysterious doom, Noemí Taboada heads to High Place, a distant house in the Mexican countryside. She’s not sure what she will find—her cousin’s husband, a handsome Englishman, is a stranger, and Noemí knows little about the region. Noemí is also an unlikely rescuer: She’s a glamorous debutante, and her chic gowns and perfect red lipstick are more suited for cocktail parties than amateur sleuthing. But she’s also tough and smart, with an indomitable will, and she is not afraid: Not of her cousin’s new husband, who is both menacing and alluring; not of his father, the ancient patriarch who seems to be fascinated by Noemí; and not even of the house itself, which begins to invade Noemi’s dreams with visions of blood and doom. Her only ally in this inhospitable abode is the family’s youngest son. Shy and gentle, he seems to want to help Noemí, but might also be hiding dark knowledge of his family’s past. For there are many secrets behind the walls of High Place. The family’s once colossal wealth and faded mining empire kept them from prying eyes, but as Noemí digs deeper she unearths stories of violence and madness. And Noemí, mesmerized by the terrifying yet seductive world of High Place, may soon find it impossible to ever leave this enigmatic house behind. “It’s as if a supernatural power compels us to turn the pages of the gripping Mexican Gothic.”—The Washington Post “Mexican Gothic is the perfect summer horror read, and marks Moreno-Garcia with her hypnotic and engaging prose as one of the genre’s most exciting talents.”—Nerdist “A period thriller as rich in suspense as it is in lush ’50s atmosphere.”—Entertainment Weekly

In recent years, the interest in the house has grown irresistibly, to the point that in many ways houses seem to be situated at the very core of the creative, artistic and cultural domains of contemporaneity. Their presence sprawls across the media, from magazines to TV programmes, and across the globe, possibly because as repositories of the human, houses have a long-standing and profound connection not only with men and women but, at a deeper level, with the ways of representing man’s world, across its declinations of gender, class, and race. Houses – the perennial, ubiquitous and silent background to our daily lives – could many “a tale unfold”: the tales of their inhabitants and/in their relationships with others, of the times they lived in, of their configurations of the world, as well as the visions (and nightmares) of the artists who created them. This collection offers a comprehensive and transdisciplinary look at the paper houses of English Literature in the eighteenth and nineteenth century. Among the configurations addressed, the authors investigate the domestic spatialization of authority, gendered houses, narratives of household construction and deconstruction, exotic mansions, fin-de-siècle habitats, haunted edifices, and houses in detective and Gothic fiction.