By Paulina Palmer
This booklet explores the advance of queer Gothic fiction, contextualizing it on the subject of representations of queer sexualities and genders in eighteenth and nineteenth-century Gothic, in addition to the sexual-political views generated by means of the Nineteen Seventies lesbian and homosexual liberation pursuits and the advance of queer thought within the Nineties. The e-book examines the jobs that Gothic motifs and narrative thoughts play in depicting facets of lesbian, homosexual, bisexual, transsexual and intersex adventure in modern Gothic fiction. Gothic motifs mentioned contain spectrality, the haunted condominium, the vampire, doppelganger and monster. Regional Gothic and the contribution that Gothic tropes make to queer historic fiction and historiography obtain cognizance, as does the AIDS narrative. lady Gothic and feminist views also are explored. Writers mentioned comprise Peter Ackroyd, Vincent Brome, Jim Grimsley, Alan Hollinghurst, Randall Kenan, Meg Kingston, Michelle Paver, Susan Swan, Louise Tondeur, Sarah Waters, Kathleen wintry weather and Jeanette Winterson.
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Additional resources for Queering Contemporary Gothic Narrative 1970-2012
Another cross-class attachment between servant and mistress that Dickens depicts, one that Furneaux does not mention, is the intense infatuation that the French maid Hortense develops with her mistress Lady Dedlock. The threat of violence that it harbours becomes apparent when Hortense, on discovering that the pretty young Rosa has supplanted her in Lady Dedlock’s affections, resigns from the latter’s service in a ﬁt of pique and, in order to achieve revenge, tries to incriminate her in the act of murder she herself has committed.
His encounter with the ghost invites different interpretations. 18), it appears to signify, at this stage in the narrative, a fantasy or, to employ the term that Nicolas Abraham and Maria Torok use, ‘the phantom’16 of his ideal lover. Its materialisation seems to have been inspired by his desire to ﬁnd a boyfriend, while its image reﬂects the physical appearance of attractive teenagers whom he has seen in the past. This agrees, in fact, with Abraham and Torok’s depiction of ‘the secret’ that they envisage encrypted in the subject’s unconscious as ‘the love object’ (p.
195). Waters’s representation of the séances that Selina holds and their erotic dimension furnishes a connection between Afﬁnity and Berman’s Vintage, different though the two novels obviously are. Whereas Berman portrays his unnamed narrator engaging in or possibly fantasising a same-sex love affair with a ghost, Waters depicts the séance furnishing a vehicle for erotic contact between spirit guide, medium and participants. However, in contrast to Berman, who portrays his teenage narrator eventually terminating his involvement with the spectral Josh in exchange for forming a relationship with the physically tangible Mike, Waters concludes her narrative on a signiﬁcantly grimmer note.
Queering Contemporary Gothic Narrative 1970-2012 by Paulina Palmer