By Danel Olson
Chosen by means of a ballot of greater than a hundred and eighty Gothic experts, the works defined and evaluated in twenty first CENTURY GOTHIC signify the main extraordinary Gothic novels and novellas written world wide among the years 2000-2010.
Contributors of the fifty-three all-new essays comprise award-winning novelists, playwrights, biographers, editors, psychoanalysts, forensic psychologists, criminologists, movie students, humanities librarians, and lots of of the main influential neo-Gothic literary critics of the final thirty years.
Designed for the Gothic fan, scholar, and critic alike, this huge advisor additionally features a perceptive foreword through Horror student S.T. Joshi and an both compelling creation via Gothic anthologist Danel Olson. Small B&W reproductions of the novels' airborne dirt and dust jackets preface each one lengthy unique essay (often of works that experience had as but little sustained severe attention), and 3 appendices identify experts and participants, honorable mentions, and novel booklet information.
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Additional resources for 21st-Century Gothic: Great Gothic Novels Since 2000
The Brown Man and his coven eat their victims, a vision of abjection reminding us forcefully of the fallibility of the flesh. Dante suffers from a virus presented to us in feverish detail, the proctor of the university hallucinates the vicar vomiting over a row of students, there are repeated images of long hairs being pulled from mouths, and victory over evil is sought at the cost of blisters, chafing clothes, and horrific burns, to say nothing of Dante’s and Hart’s problems with clinging underwear.
And yet, for all the retrograde horror, whether psychic or physical, Banquet betrays a profoundly Gothic ambivalence toward modernity. indb 17 12/2/10 1:21 PM 18 C HA P TER 2 his actions prove decisive at the climax of the novel as well. By contrast, Dante and Tom are ineffectual, locked in a cycle of guitar practice, stoned banter, and squabbling over women; Hart is a hands-off academic drunk, always arriving after the fact; and Eliot’s university peers, who only hired him as a reminder of their more adventurous youth, are conservative and resolutely middle class, more concerned with appearance than substance and sexually selfish enough for their wives to consider joining an anthropophagic cult as a breath of fresh air.
He asked, his voice smug. “No,” I admitted. “No coffins, no piled skulls in the corners; I don’t even think we have cobwebs . . what a disappointment this must be for you,” he continued slyly. I ignored his teasing. “It’s so light . . ”22 In the 2008 film version, again this surprise and possible disappointment of hers is too vital to pass up, though it was shortened: EDWARD CULLEN: What did you expect? Coffins and dungeons and moats? 23 What unearthly good is a vampire who sits at the edge of your bed at night and just looks at you?