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Significant other to American Gothic encompasses a selection of unique essays that discover America's gothic literary culture.
The greatest selection of essays within the box of yankee Gothic.
Contributions from a wide selection of students from round the world.
The so much entire insurance of concept, significant authors, pop culture and non-print media on hand.

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Extra resources for A Companion to American Gothic

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S. Eliot. Gothic fictions have remained unworthy of attention until the 1960s because they have never fit into such molds. Since England’s Horace Walpole defined the “Gothic Story” in his second edition of The Castle of Otranto (1765) as a “blend” of “two kinds of romance,” the aristocratic, Catholic, and supernatural “ancient” and the middle-class, largely Protestant, and more realistic “modern” (Walpole 1996: 9) – an in-organicism echoed by Hawthorne in his 1851 Preface to The House of the Seven Gables (1962: 15–17) – the Gothic has become established as anti-New Critical in its flagrant mixture of different genres and ideologies, an arouser of the fears instigated by visible conflicts between retrogressive and progressive views of the world.

S. Eliot “objective correlative” (Thompson 1973: 17). They render in dense verbal form the “philosophical consciousness of Poe himself,” as per the History of Ideas, in ways that manifest his transformation of tired Gothic conventions into Americanizations of the earlier “Romantic Ironists” of England and Germany (12–13). Yet here, ultimately, the Gothic is a set of devalued ingredients, not really essential to American writing at Poe’s time, that Poe rescues from deserved obscurity by reinvesting them with a Romantic Irony apparently not as connected to the Gothic as it actually was in the Europe of the early nineteenth century.

The condemnation Dylan speaks of is complex and multifaceted: it does not fail to address his own Jewish-American heritage, but neither does it fail to name (for Dylan is spectacularly good at names, at investing names with new meanings while indicating that they are accretions on top of older, repressed nominal histories). G. Wells. But let us move on – are we now in unlighted depths? Is the stink lesser or not? Do we see the unmistakable glow of Hades himself ahead of us? Or is it just that the witch-fires are burning – and perhaps we feel a certain different stench, one peculiar to the destruction of the witches.

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