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.

    This lucid, easy-to-follow guide: * Explains the transformations of the genre through history * Outlines all the major figures which define the genre, such as ghosts, monsters and vampires * Charts key texts over two centuries * Traces origins of the form * Looks at the cultural and historical location of gothic images and texts * Provides a succinct introduction to the field which is also an excellent foundation for further study.

    

    Uncovered by literary sleuths Leona Rostenberg and Madeleine Stern, the 29 known thrillers by one of America's most adored juvenile fiction writers are now available in a single volume.

    While in Ireland, Hellboy helps a family whose baby has been taken by faeries. The thieves demand Hellboy buries their dead friend, a drunken gambler, in hallowed ground. But in the world of Hellboy, nothing is ever as easy as it sounds.

    This volume collects the most significant contemporary work on the novel from Marxist, Psychoanalytic, Historicist, Feminist, Poststructuralist and Postcolonialist perspectives. The book reflects the way that monstrosity in its literary, historical and philosophical context raises crucial questions for modern issues of sexuality, class, science, race, language and identity.

    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.

    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

    A knight meets a naked woman in the forest who rescues him only to lead him later to drawn. Two lovers, forcibly separated, continue their involvement in letters delivered to each other by a swan. A passionate affair in which the lovers never touch brings a jealous husband to dismember a nightingale. Venus realizes in the middle of narrating a story that she is the invention of one of her own characters. In the title story, a father forces his daughter into a barrel and throws it overboard in the middle of the sea; rescued by pirates, she is given to a sultan who teachers her to read, and whom she deserts for her father. In story after story, each written in Walker’s impeccable and densely rich style, the author takes us to the brink of passion where the characters totter, ready to retreat entirely from love or fall into the pit of sensuous transgression. Once again, she takes the reader for a breathtaking venture on the ‘tempting regions of web.

    Siegel set out in search of the old man—called Brahm Kathuwala—to hear his stories and to learn about his uncommon life. But what started out as a study of other people's stories became a compelling story itself. City of Dreadful Night is an astonishing work of fiction, a tangle of tales that transports the reader from the Medieval India of magicians, witches, and vampires, through the British India of Brahm Kathuwala's childhood, into the chaos and political terror of contemporary India. Vividly recreating Indian literary and oral traditions, Siegel weaves a web of possession, reincarnation, and magical transformation unlike any found in the Western tradition. Flesh-eating demons, Rajiv Gandhi's assassin, even Bram Stoker and Dracula populate the serpentine narrative, which intermingles stories about the characters with the terrifying tales they tell.Siegel pursues Brahm Kathuwala from the ghastly lights of the cremation ground at Banaras through villages all over north India. Brahm's life story is revealed through countless tales along the way. We learn that he was raised, and abandoned, by two mothers—one the destitute floor sweeper who bore him; the other her employer, a wealthy Irish woman who read and reread to him the story of Dracula. We hear of his marriage to the daughter of a cremation ground attendant, his battles against her demonic possession, and their painful parting. We come to understand the daily life and motivations of this "horror professional," who uses terrifying tales to ward off the evil he himself fears.This unorthodox book is more than a story; it blends scholarship, fantasy, travelogue, and autobiography—fusing and overlapping historical accounts and newscasts, literary texts and films, dreams and nocturnal tales. Siegel uses imagination to explore the relation of real terror to horror fiction and to contemplate the ways fear and disgust become thrilling elements in stories of the macabre. This book is the product of Siegel's deep knowledge of both Indian and Western literary and philosophical traditions. It is also an attempt to come to grips with the omnipresence of political and religious terror in contemporary India. Shocking, original, beautifully written, City of Dreadful Night offers readers a captivating immersion in the wonder and terror of India, past and present.

    It discusses not only the most famous monuments - such as the cathedrals of Chartres, Amiens, and Reims, Westminster Abbey, and the Siena Duomo - but also less familiar buildings in France, England, Italy, Germany, Spain, and Scandinavia. A synthesis of new research, interpretations, methodologies, and insights that have evolved over the last twenty years, the text is accompanied by hundreds of illustrations, including many photographs taken specially for the book. Together the text and the images provide a strikingly beautiful and authoritative survey for students and the general reader.

    Creeping through the pages are lurking beasties, axe-swinging psychos, and pouncing bloodsuckers - each one described in darkly witty verse and captured in Sala's fine, quirky drawing style.

    Concentrating on films produced during the 1970s-1980s, this study explores the social and psychological implications of horror and comedy on film in a discussion ranging from the classics of Chaplin and Hitchcock to 'movies that embrace the lowest common denominator as an aesthetic principle'.

    In "Hop-Frog", a gruesome tale by America's father of Gothic horror, Edgar Allan Poe, a king's jester, both a dwarf and a cripple, exacts a terrible revenge. Ambrose Bierce's "The Boarded Window" is a frightening and deeply sad story of death, grief, and terror on the frontier by the classic writer of the American West. In "The Body Snatcher", by Robert Louis Stevenson, the British author better known for his children's books, morally corrupt medical students rob graves of fresh corpses until on black night when they meet a grisly fate.

    This book questions the historical reasons for its growing popularity in the late eighteenth century. Beginning with the notorious case of the Cock Lane ghost, a performing poltergeist who became a major attraction in London in 1762, and with Garrick's spellbinding and paradigmatic performance as the ghost-seeing Hamlet, it moves on to look at the Gothic novels of Horace Walpole, Ann Radcliffe, M. G. Lewis, and others, in unexpected new lights, drawing out the connection between fictions of the supernatural and the growth of consumerism.