The Gothic Literature and History of New England surveys the history, nature and future of the Gothic mode in the region, from the witch trials through the Black Lives Matter Movement. Texts include Cotton Mather and other Puritan divines who collected folklore of the supernatural; the Frontier Gothic of Indian captivity narratives; the canonical authors of the American Renaissance such as Melville and Hawthorne; the women's ghost story tradition and the Domestic Gothic from Harriet Beecher Stowe to Charlotte Perkins Gilman to Shirley Jackson; H. P. Lovecraft; Stephen King; and writers of the current generation who respond to racial and gender issues. The work brings to the surface the religious intolerance, racism and misogyny inherent in the New England Gothic, and how these nightmares continue to haunt literature and popular culture—films, television and more.

The Gothic Literature and History of New England surveys the history, nature and future of the Gothic mode in the region, from the witch trials through the Black Lives Matter Movement. Texts include Cotton Mather and other Puritan divines who collected folklore of the supernatural; the Frontier Gothic of Indian captivity narratives; the canonical authors of the American Renaissance such as Melville and Hawthorne; the women's ghost story tradition and the Domestic Gothic from Harriet Beecher Stowe to Charlotte Perkins Gilman to Shirley Jackson; H. P. Lovecraft; Stephen King; and writers of the current generation who respond to racial and gender issues. The work brings to the surface the religious intolerance, racism and misogyny inherent in the New England Gothic, and how these nightmares continue to haunt literature and popular culture—films, television and more.

This comprehensive comparative approach to the folklore, fantasy, and horror literature of New England stretches from the earliest European exploration to Stephen King, John Updike, and Shirley Jackson. Includes interviews with Les Daniels, Grandt, and other horror writers who reside or set their stories in New England.

A heart-wrenching first novel about the power of place and family ties, the weight of the stories we choose to tell, and the burden of those we hide Frozen in grief after the loss of her son at sea, Edith Baines stares across the water at a schooner, under full sail yet motionless in the winter wind and surging tide of the Northern Reach. Edith seems to be hallucinating. Or is she? Edith’s boat-watch opens The Northern Reach, set in the coastal town of Wellbridge, Maine, where townspeople squeeze a living from the perilous bay or scrape by on the largesse of the summer folk and whatever they can cobble together, salvage, or grab. At the center of town life is the Baines family, land-rich, cash-poor descendants of town founders, along with the ne’er-do-well Moody clan, the Martins of Skunk Pond, and the dirt farming, bootlegging Edgecombs. Over the course of the twentieth century, the families intersect, interact, and intermarry, grappling with secrets and prejudices that span generations, opening new wounds and reckoning with old ghosts. W. S. Winslow's The Northern Reach is a breathtaking debut about the complexity of family, the cultural legacy of place, and the people and experiences that shape us.

Transatlantic approach: This project explores British and American texts in conversation together. Use of archival materials, which is relatively unusual within Gothic studies, and even in literary studies more generally. A focus on poetry, drama, and periodical writing, genres that are often ignored in the study of the Gothic. A focus on women’s work (both on the labor of women and on texts by women). A focus on local Gothic (especially in Lowell and Manchester), with a connection to larger international trends of the genre.

The Hopeless, Maine project came to life as the collective dream/nightmare of Tom and Nimue Brown. It began as a graphic novel series set on a gothic island lost in time. Since then the creative family has grown and there are many who have come to play on this strange island and now will never leave. "The moon hadn't risen, but starlight showed Annamarie the way. She saw well enough, and the island by night held no terrors for her. She had been running away to its wilder places for as long as she could remember," New England Gothic is the story of Annmarie Nightshade, an orphan who becomes a witch on the island of Hopeless, Maine. There are betrayals, heartbreak and many dangers to overcome but there are also wonders, near escapes and strange journeys. You will meet dark sorcerers, a mad inventor in a lighthouse and the strangest familiar in the history of witchcraft.

These stories of vampire legends and gruesome nineteenth-century practices is “a major contribution to the study of New England folk beliefs” (The Boston Globe). For nineteenth-century New Englanders, “vampires” lurked behind tuberculosis. To try to rid their houses and communities from the scourge of the wasting disease, families sometimes relied on folk practices, including exhuming and consuming the bodies of the deceased. Folklorist Michael E. Bell spent twenty years pursuing stories of the vampire in New England. While writers like H.P. Lovecraft, Henry David Thoreau, and Amy Lowell drew on portions of these stories in their writings, Bell brings the actual practices to light for the first time. He shows that the belief in vampires was widespread, and, for some families, lasted well into the twentieth century. With humor, insight, and sympathy, he uncovers story upon story of dying men, women, and children who believed they were food for the dead. “A marvelous book.” —Providence Journal Includes an updated preface covering newly discovered cases.