A collection of studies on the Gothic in the Middle East and North Africa. This is the first collection to cover Gothic literature from the Middle East and North Africa, surveying each of the major Middle Eastern languages--Arabic, Hebrew, Persian, and Turkish. In these languages and contexts, the Gothic helps express ongoing literary negotiations with modernity, leaving its distinctive mark on representations of globalization, postcolonialism, and nationalism. At the same time, Middle Eastern literary texts expand the boundaries of the mode on their own terms, refracting broad histories through local and indigenous forms, figures, and narratives commonly associated with the Gothic.

The chapters in this study cover the four major Middle Eastern languages (Arabic, Hebrew, Persian, and Turkish) and are authored by experts in these literatures, who read and engage with these texts in their original languages. Their intimate knowledge of the linguistic and cultural contexts of the works they analyse provides readers access to nuances in the texts and, ultimately, to a more profound understanding of them. This is the first cohesive collection addressing the Gothic in the geographic/linguistic context of the Middle East region. There has been increased interest not only in global iterations of the Gothic but also in Middle Eastern writing, particularly when it intersects with the Gothic (i.e. Frankenstein in Baghdad). The Introduction of the volume offers a new theorisation of Gothic literature, proposing the "transnational region" as a frame for reading literary texts that cross national and linguistic boundaries.

“Makes a persuasive argument” that gothic ideas “play a vital role in how Hebrew writers have confronted history, culture, and politics.” —Robert Alter, author of Hebrew and Modernity Sinister tales written since the early twentieth century by the foremost Hebrew authors, including S.Y. Agnon, Leah Goldberg, and Amos Oz, reveal a darkness at the foundation of Hebrew culture. The ghosts of a murdered Talmud scholar and his kidnapped bride rise from their graves for a nocturnal dance of death; a girl hidden by a count in a secret chamber of an Eastern European castle emerges to find that, unbeknownst to her, World War II ended years earlier; a man recounts the act of incest that would shape a trajectory of personal and national history. Reading these works together with central British and American gothic texts, Karen Grumberg illustrates that modern Hebrew literature has regularly appropriated key gothic ideas to help conceptualize the Jewish relationship to the past and, more broadly, to time. She explores why these authors were drawn to the gothic, originally a European mode associated with antisemitism, and how they use it to challenge assumptions about power and powerlessness, vulnerability and violence, and to shape modern Hebrew culture. Grumberg provides an original perspective on Hebrew literary engagement with history and sheds new light on the tensions that continue to characterize contemporary Israeli cultural and political rhetoric.

Europeans are in denial. Against a backdrop of Islamophobia, they are increasingly distancing themselves from their cultural debt to the Muslim world. But while the legacy of Islam and the Middle East is in danger of being airbrushed out of Western history, its traces can still be detected in some of Europe's most recognisable monuments, from Notre-Dame to St Paul's Cathedral. In this comprehensively illustrated book, Diana Darke sets out to redress the balance, revealing the Arab and Islamic roots of Europe's architectural heritage. She tracks the transmission of key innovations from the great capitals of Islam's early empires, Damascus and Baghdad, via Muslim Spain and Sicily into Europe. Medieval crusaders, pilgrims and merchants from Europe later encountered Arab Muslim culture in journeys to the Holy Land. In more recent centuries, that same route through modern-day Turkey connected Ottoman culture with the West, leading Sir Christopher Wren himself to believe that Gothic architecture should more rightly be called 'the Saracen style', because of its Islamic origins. Recovering this overlooked story within the West's long history of borrowing from the Islamic world, Darke sheds new light on Europe's buildings and offers rich insights into the possibilities of cultural exchange.

The essays in this collection acknowledge the rich Gothic tradition in Asian narratives that deal with themes of the fantastic, the macabre, and the spectral. Through close analyses of Asian works using the theoretical framework outlined by Gothic criticism, these essays seek to expand the notion of the Gothic to include several popular Asian works. Broadly divided into essays on postcolonial Asian Gothic, Asian-American Gothic, and the Gothic writings of specific Asian nations, this volume covers a wide variety of Asian texts. The essays of Part One demonstrate the flexibility of Postcolonial Gothic literature in adopting divergent or even contradictory ideologies. Part Two evokes the Gothic as the theoretical framework from which to interrogate the writings of Asian-American authors Maxine Hong Kingston, Sky Lee, lě thi diem thuy and David Henry Hwang. Part Three studies the Gothic tradition in the national literatures of China, Japan, Korea, and Turkey.

At the heart of this book is a spectral theory of world literature that draws on Edward Said, Aamir Mufti, Jacques Derrida and world-systems theory to assess how the field produces local literature as an "e;other"e; that haunts its universalising, assimilative imperative with the force of the uncanny. It takes the Middle Eastern novel as both metonym and metaphor of a spectral world literature. It explores the worlding of novels from the Middle East in recent years, and, focusing on the pivotal sites of Middle Eastern modernity (Egypt, Turkey, Iran), argues that lost to their global production, circulation and reception is their constitution in the logic of spectrality. With the intention of redressing this imbalance, it critically restores their engagements with the others of Middle Eastern modernity and shows, through a new reading of the Middle Eastern novel, that world literature is always-already haunted by its others, the ghosts of modernity.

For more than four decades, Ellen Datlow has been at the center of horror. Bringing you the most frightening and terrifying stories, Datlow always has her finger on the pulse of what horror readers crave. Now, with the sixteenth volume of the series, Datlow is back again to bring you the stories that will keep you up at night. Encompassed in the pages of The Best Horror of the Year have been such illustrious writers as: Neil Gaiman, Stephen King, Stephen Graham Jones, Joyce Carol Oates, Laird Barron, Mira Grant, and many others.