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preceded
among Gothic
of
that
cycle
N.
Leslie
saga
Emily”
voices oral the the AMERICAN
produced twentieth
(1932),
voices still and
cursed many
Fury
John
American
obvious (1969), were
that
Posey
McCarthy
(1987) racial often of
for
second
Native
Pre-eminently, was
Tarn,
story narrative
the
Flannery
envisioned
own
summation century:
and county. early modernist land
structure
characters, the SOUTHERN
earlier)
innovations a race
the and Indian
and
a
typically
writers
the
South, August Welty,
Dawn the
mansions
Rose
South some
and had
including
the
to
of
of
Following
and
recently, in
their of
narrative Beloved
Cormac produced of
class “A Donna
the by
century.
make
The the Faulkner
show Another these Alexander growing
culture. (1936),
duced eth literature, eration, Southern Sound and Yoknapatawpha Light all the four created technical that
twentieth Eudora more Fury) McCullers, sen, and of to not American Chesnutt of son’s dialog
works brings WILLIAM; that demons. and writers as upon
spun.
Made voices,
a
a
a
a at
as of
P. of to
be
W. the
not the
tale
and (see
city
as and
into
wild
phe
H.
Brute natu
grow
result
of
was
Euro
disap
hybrid
fright televi into
Gothic
contin
greatest groups.
and
contrac cinema.
was
the patterns
many and could
Ambrose writers
The new the
reservoirs
one
for weird developed emerge the
century, subject plot
traditional articulated
(1911) produces
Robert had
also
would
a
lifetime the
be
and Hearn
Norris’ radio, as
supernatural, and
was the
century,
site
the
book dominant
continued
tale
a
to
as
been certain
dwindling,
shared by would
minority’
England
of the
as
joined American
provide
as Frome
which brief While
with
twentieth apparent)
the
especially, American
them:
Frank areas,
frontier
century
twentieth
Race
appropriated be
modernism. tale,
through had
was
weird
forbidden
uses
Lafcadio
the Vandover New encounters.
influenced
joined media
increasingly
twentieth
the be been,
only
and, continued
with
revealed
would century, Ethan
fears.
early
Gothic—naturalism
early
that
century, The
Norris’ continue
the
effect weird
tradition
audiences
remote
though
regions
the
would new
be
century.
often and had
turn
suburb. story,
and
the
(and
and
in
in
dream. it
The
the long-silenced into naturalism,
the nineteenth the
would through new
subject, Poe.
though
in
in
novels,
interact
the
as
and two wilderness Though their
may
history, a of
or
of a
of
would
during forms, by
the
and, twentieth subjects
of
generations.
as
disease,
uncanny
Wharton’s subjects
of
employs
(1917),
and
existed
of
who this the
and refine woven and
issue,
werewolf literary
journeys
Gothic
twist,
late
apparent
media graphic
prejudices
import
to of
twenty-first
common Salne
end
or
these
Edith In
delusion material. earlier Entering
members
the the
importance
(1914), 0wn
ralistic published in Summer
wEREwOLvES). strands the venereal was ued developed tion sal though Bierce, powerful of Chambers practitioner Lovecraft. South, the in writers country remembered of peared ening burdens remained
nomenon central by in To pean the compete print
prestigious of sion, In
r
a
is
is
of
its the the
the
this (see and
The the
the
fact
uses and
plan
such
these must
white
soci
never insis
grows black
of
of
litera
stories in
secrets
literary
in
Ameri
women prison
what literary and a
Sheriffs He key Crane’s
is
emerged
mode
of century, its
sheriff,
the of
Dunbar from
to
narratives
coded
previously
force, to
individual
naturalism
of
the exactly Chesnutt, away,
the
and
the
acknowledge
reader
frame
who conversation of
from black
magic
“The Chesnutt subjects
invisible
With
in
Alice
the in
the
in example African a
of slave that of
uncanny
as secrets of Realism
Stephen
enslaved
the not heritage popular in
characters
Several
of
of thought of
depicting,
genealogies: disease,
of
the
(1899), taboo nineteenth burned
writers cycle good
monstrous
the
The did
such
literature GOTHIC).
wrote which, were
that
inferred
Charles a universe a
music revises
usually community
racial
roots of
self-deception.
black and
a escaped the
is
overheard Gothic.
a
inheritance
the
as
be
the
insistence
been
naturalism. tradition
captivity.
but
who
of hybrid,
where
English.
the Similarly,
of
and scientific
son
story,
the
of an the
the
in
as
stories
revelation
with
were
confront
(1899), has Josepha” in
white
of
only
new
such American
in their suppressed
in
children.
(1899)
the Chesnutt the
men
to
radically
black
the descendants
years
powerlessness with
that AMERICAN
were
who,
as of
Black
addiction,
face GOTHIC).
can
character’s
(1899), of both
unlock.
with
known
said
as American
last response the
folktales
given were
“Sister
that
Woman until to
school,
white
African are
realism
period, understand tone
contain and
Dunbar-Nelson,
tide
mulatto
on
the confronted
blended
people
the
of
Monster”
construction
whose
was AFRICAN literature.
identity
quite
black
relationship
the
The
parentage
In the
willingness
sexuality,
race SOUTHERN
tation in and families background, material, Alice their and chronicles Gothic can Gothic Children” steadily er’s reversal upbeat associated the Conjure employing stories stories
of (see struggle Nelson’s not of stated, movement the
ture tence when its as easily “The Gothic—naturalism
hysterical man ety’s
in
of
an
has
the The any So
the
was
one
And
war,
into
such
most when
these
espe
of mint often
shells
Victo sense”
James’ has
Cable, In
ghosts,
ambig
South
of
houses the
mixed- Gothic,
that Enlight realistic
became
member the
bereave than between innocent
differing
narrative
least
in
the
an the
American
Chesnutt,
time and
by “Matter
very
aristocracy.
of the
a the sentimental
diminished
often
at
Everyone
of
of
by
the
period,
which
always
progress.
survived
Writers
a
James. in
of
especially, of
shabby
the
of
families, many
before
and
agendas,
novella
widely of
families
tension
and
“common
of
another created
this SPIRITUALISM). of
a plantation
Charles
believing produced
into
the they
some
discussion testified lived
Washington
debunking
important
moral
old
created
of
if
impetus often
moonlight
Henry
narrative and
attended
of
life,
Realism big
from
as
(see
period
an
America James
the
and various
and
Gothic,
South, disrupted.
produced survivors
creative
rationality’ GOTHIC
secrets
slave-owning
this HENRY). the
the
genealogies
(1898), of
being
realists Research,
critical
a
the stopped
George
veered
have were
War savage
major Chopin,
and was
its in which, of
the
and with
exploration
science a INVESTIGATION).
bias, realism period.
as
of
work,
a social to because
was
Coming
of
Southern
other
era, quite
scientists,
of Civil buried JAMES, of ghostly
and Screw against
Kate
secrets
school”
was
hidden longer
life this
join
exhibit
Southern
such achievements
that
part
a Dunbar-Nelson of
and South,
forged
by
postbellum
not of
and Psychical the
culture,
reassert
the
the families
pictures to
seems (see
William
the
Twain’s
of
The the
in
South.
of
to
King,
of old AMERICAN
disruption
American
the
among for
dream
had the
of era PSYCHICAL
era
especially
Alice
reaction
doctrine
being
postwar
it writers
James
In
a
Mark
the
staple 18
Turn
theoretician
uous generated childhood trying other rian to
even (see enment, ciety Western yet
séance, ments this brother “plantation and was literature The antisentimental view distinctive Hannibal,”
julep as mythic nostalgia backgrounds ern Grace and snapshots realistic exposing
cially of inhabited families. the
a involved 20 AMERICAN GOTHIC AMERICAN GOTHIC 21 and Louise Erdrich. Erdrich’s continuing series Tiyon in Harvest Home (1973). The hugely themselves with radio dramas that included products of civilization-ending plague. Vam of novels about interrelated families in Ivlin popular and prolific Stephen King, in many Orson Wes’ Mercury Theater dramatization pires have flourished in the Gothic regions of nesota and North Dakota, beginning with Love ways the successor of Lovecraft, sets most of 0f The War of the Worlds, which panicked New England and the South in the popular Medicine (1984), rivals Faulkner’s Yoknapa his fiction in New England (see JACKSON, much of the nation one night in 1938, and novels of Anne Rice and Stephen King (in tawpha cyclefor complexity and for the genea SHIRLEY; KING, STEPHEN; LOVECRAPT, H. P. weekly programs with titles such as The ‘Salem’sLot, 1975),who both build on the con logical challenge it presents readers, and often (HowARD PHILLIPS); NEW ENGLAND GOTHIC; Shadow,The Whistler, and Inner Sanctum that ventions established by Bram Stoker: vampires blends Gothic techniques with Ojibway WHARTON, EDITH). delightfnl’y frightened generations of school are an ancient race who can reproduce by folklore. As true wilderness has nearly disappeared childte The most important new narrative infecting human victims. This pattern, with New England in the early twentieth century’, in the United States, Americans view the wild medium of the twentieth century, clearly, variations, is also followed by Poppy Z. Brite like the South, was a region in long decline, its land and its rough frontier interface with civi was film, which has influenced the way we all and, recently, Elizabeth Kostova.Another camp population shrinking and its landscape dotted lization with varying proportions of fear, think and dream and now exists in creative grafts the vampire story to the tradition of with abandoned farms. Edwin Arlington Rob wonder, and nostalgia. Pockets of empty symbiosis with traditional novels, graphic postapocalypse narrative, a tradition begun in inson, who was a contemporary of naturalists country can still be imagined as sites of terror, 0OVCIS,television, and, recently, videogames. the United States by Jack London in his still The noir tradition of film, coming out of underappreciated The Scarlet Plague (1912), such as Crane and Norris, wrote poetry about as in James Dickey’s Deliverance (1970), a I the lives of New Englanders defeated by loneli journey of adventure turned to nightmare. The Gernian expressionism, has produced a long whose title suggests a link backward to Poe’s ness and time. Thus, his poem “The Mill” lost frontier in the nineteenth century is revis interaction between crime fiction, science “The Masque of the Red Death” (1842) and (1920), a virtual Gothic—naturalist novel in ited with profound Gothic effect in Cormac fiction,and movies that has produced a number extended by George Steward in Earth Abides twenty-four lines, records the suicide of a McCarthy’s BloodMeridian (1985) and in the ofmoviesthat can be classedas Gothic, includ (1949) and continued by Cormac McCarthy in miller and his wife, whose artisanal livelihood recent television series Deadwood. McCarthy’s ing,in recent years, Chinatown (Roman Polan The Road (2006). In this tradition, only a few has been destroyed by industrialization. Edith judge and Al Swearingen from Deadwood are ski, 1974), Sling Blade (Billy Bob Thornton, humans survive a nuclear war or devastating Wharton, though dividing most of her life among the most compelling of recent Gothic 1996),and Lone Star (John Sayles, 1996) and, plague. The vampire variant imagines a virus between New York City, the Hudson River villains (see MCCARTHY, CORMAC). still more recently, Winter’s Bone (Debra that turns most humans into vampires. This Valley, and France, wrote novellas and stories As wilderness was paved over with subdivi Granik, 2010) (see FILM; RADIO; TELEVISION). premise was developed by Richard Matheson set in New England. A cycleof ghost stories, set sions and shopping malls, suburbia became the The interaction between movies and fiction in I Am Legend (1954) and recently by Justin most often in New England’sbitter winter, pays norm of American life. The largest American wasessential to the vampire plague of the late Cronin in The Passage (2010), the first novel homage through its characters’ names and its generation, the baby boomers, grew up there. twentieth century, an infestation that contin of a projected trilogy (see BRITE, Poppy z.; imagery to Nathaniel Hawthorne. H. P. Love- Celebrated in television programs such asLeave ues in our own time. Vampires constitute an MATHESON, RICHARD; VAMPIRE FICTION). also draws Hawthorne the Matter it to Beaver (1957—63)and The Adventures of immenselycomplex subject, as objects of fear The Gothic, in various permutations (drawn craft on and I of Salem as well as Poe and other sources Ozzie and Harriet (1952—66),the idealization and desire, and as coding for various issues from graphic novels, adolescent fiction, and in creating his “Cthulhu Ivlvthos,” in which of suburbia was a narrative waiting to be dis of gender, race, disease, and political paranoia music), has become absorbed into American New England is subject to a monstrous de rupted by the Gothic. XVesee this counter- (seeVAMPIRE FICTIoN). As a specificallyAmer youth culture — understandably, considering ican phenomenon, there monic plot, as described in a mysterious book, narrative in the Poltergeistmovies (1982—8)as I had been a distinct the Gothic’s position as a literature of the out The Necrononucon. Lovecraft’s considerable well as countless films featuring babysitters New England vampire tradition, probably sider and the repressed. Adolescents have their deriving achievement has become something of a cult, as the distressed Gothic maiden, or, reversed, from the region’s long history of own narratives to disrupt. Herded into high and influenced later writers such as Stephen as the stalker of innocent children (the distant tubercu]osis.Edith Wharton draws on this tra schools that relentlessly sort boys and girls dition King. Shirley Jackson wrote both supernatural kin of James’Miles and Flora), as well as televi in some of her New England Gothic according to standards of attractiveness, ath stories. Gothic in The Haunting of Hilt House (1959) sion programs such as Buffythe VampireSlayer But the later irruption of Vampires letic success, and the elusive quality of “cool was and in the Gothic—naturalisttradition in We (1997—2003).Suburbia is also one of the favor propelled by the British Hammer Studio ness,” the losers or those resistant to this movies Have Always Lived in the Castle (1962). Her ite settings for the major Gothic writer Joyce and by the equivalent Hollywood films. mandatory contest are often drawn to fantasies j Seen celebrated short story “The Lottery” (1948) Carol Oates. Her novel Zombie (1995), to first by Americans at local theaters and of escape, power, or vindication. Stephen then by draws obliquely on the Matter of Salem, and choose one example from her vast output, is a their children on black-and-white tele King’sfirst novel, Carrie (1974; filmed by Brian visions can be read, like Arthur Miller’s play about narrative from the point of view of a suburban in suburban living rooms, these films De Palma in 1976), captures both the environ filledthe creative Salem witchcraft, The Crucible (1953), as a serial murderer (see Buff Y THE vAMPIRE SLA yEll nightmares of boys and girls ment and a lonely girl’s response perfectly. who would comment on the anticommunist scapegoating (1997—2003);OATES, JOYCE CAROL). grow up to write of monsters and The vampire has been a particularly attractive Vampires of the 1940sand 1950s.Jackson’sconceit of an Increasingly throughout the twentieth cen in the later years of the century (see figure for adolescents in recent years, since the RAMMLR ancient cult underlying the culture of a New tury, the narratives that Americans absorbed HOUSE). vampire offers sexual potency, glamour, and Vampires England village, anticipated in some of Whar came from movies and electronic media. For in America usually fall into two power. Stephenie Meyer’swildly popular Twi Camps:the ton’s stories, is developed further by Thomas decades Americans entertained and frightened descendants of Dracula and the light series of novels (2005—8)and their film
2
a
23
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REFERENCES
Radio;
(Howard Television; wolves;
Herman; ern
Carol;
Matheson,
James,
House;
Comics Faulkner,
den;
SEE
century.
national Ambrose;
adaptations
22 suggest