Jack Halberstam offers a rereading of the monstrous that revises our view of the Gothic. Moving from the nineteenth century and the works of Shelley, Stevenson, Stoker, and Wilde to contemporary horror film exemplified by such movies as Silence of the Lambs, Texas Chainsaw Massacre, and Candyman, Skin Shows understands the Gothic as a versatile technology, a means of producing monsters that is constantly being rewritten by historically and culturally conditioned fears generated by a shared sense of otherness and difference.Deploying feminist and queer approaches to the monstrous body, Halberstam views the Gothic as a broad-based cultural phenomenon that supports and sustains the economic, social, and sexual hierarchies of the time. She resists familiar psychoanalytic critiques and cautions against any interpretive attempt to reduce the affective power of the monstrous to a single factor. The nineteenth-century monster is shown, for example, as configuring otherness as an amalgam of race, class, gender, and sexuality. Invoking Foucault, Halberstam describes the history of monsters in terms of its shifting relation to the body and its representations. As a result, her readings of familiar texts are radically new. She locates psychoanalysis itself within the gothic tradition and sees sexuality as a beast created in nineteenth century literature. Excessive interpretability, Halberstam argues, whether in film, literature, or in the culture at large, is the actual hallmark of monstrosity.

    

    Chapbook of poetry, or "spoken word text."Table of ContentsI Guess I Should Talk About Sex 9 Everybody's Big Exception 14 I Remember How I 18 It Was Sunday Night 21 Danielle, I've Been Meaning To Tell You 23 Sister Jade Insomniac and I 26 Conversation With What Once Was A Friend 28 Terza Rima Rant-O-Rama 34 To Push Away Or Clutch 36 Thank You (For Nothing) 42 The Truth About Modeling 43 Winner 44

    The Female Thermometer brings together Castle's essays on the phantasmagoric side of eighteenth-century literature and culture. Taking as her emblem the fanciful female thermometer, an imaginary instrument invented by eighteenth-century satirists to measure levels of female sexual arousal, Castle explores what she calls the impinging strangeness of the eighteenth-century imagination--the ways in which the rationalist imperatives of the age paradoxically worked to produce what Freud would later call the uncanny. In essays on doubling and fantasy in the novels of Defoe and Richardson, sexual impersonators and the dream-like world of the eighteenth-century masquerade, magic-lantern shows, automata, and other surreal inventions of Enlightenment science, and the hallucinatory obsessions of Gothic fiction, Castle offers a haunting portrait of a remarkable epoch. Her collection explores the links between material culture, gender, and the rise of modern forms and formulas of subjectivity, effectively rewriting the cultural history of modern Europe from a materialist and feminist perspective.

    Ranging across five centuries of fiction, drama, and verse—including tales as diverse as Horace Walpole's The Castle of Otranto, Shelley's Frankenstein, Coleridge's The Rime of the Ancient Mariner, and Freud's The Mysteries of Enlightenment—Anne Williams proposes three new premises: that Gothic is "poetic," not novelistic, in nature; that there are two parallel Gothic traditions, Male and Female; and that the Gothic and the Romantic represent a single literary tradition.Building on the psychoanalytic and feminist theory of Julia Kristeva, Williams argues that Gothic conventions such as the haunted castle and the family curse signify the fall of the patriarchal family; Gothic is therefore "poetic" in Kristeva's sense because it reveals those "others" most often identified with the female. Williams identifies distinct Male and Female Gothic traditions: In the Male plot, the protagonist faces a cruel, violent, and supernatural world, without hope of salvation. The Female plot, by contrast, asserts the power of the mind to comprehend a world which, though mysterious, is ultimately sensible. By showing how Coleridge and Keats used both Male and Female Gothic, Williams challenges accepted notions about gender and authorship among the Romantics. Lucidly and gracefully written, Art of Darkness alters our understanding of the Gothic tradition, of Romanticism, and of the relations between gender and genre in literary history.