"The Cambridge History of the Gothic was conceived in 2015, when Linda Bree, then Editorial Director at Cambridge University Press, first suggested the idea to us. After much discussion and writing, what began life as a modest single-volume project became a larger and far more ambitious three-volume work."--

The first volume to provide an interdisciplinary, comprehensive history of twentieth and twenty-first century Gothic culture.

This is the fullest and richest account of the American Renaissance available in any literary history. The narratives in this volume made for a four-fold perspective on literature: social, cultural, intellectual and aesthetic. Michael D. Bell describes the social conditions of the literary vocation that shaped the growth of a professional literature in the United States. Eric Sundquist draws upon broad cultural patterns: his account of the writings of exploration, slavery, and the frontier is an interweaving of disparate voices, outlooks and traditions. Barbara L. Packer's sources come largely from intellectual history: the theological and philosophical controversies that prepared the way for transcendentalism. Jonathan Arac's categories are formalist: he sees the development of antebellum fiction as a dialectic of prose genres, the emergence of a literary mode out of the clash of national, local and personal forms. Together, these four narratives constitute a basic reassessment of American prose-writing between 1820 and 1865. It is an achievement that will remain authoritative for our time and that will set new directions for coming decades in American literary scholarship.

Gothic as a form of fiction-making has played a major role in Western culture since the late eighteenth century. In this volume, fourteen world-class experts on the Gothic provide thorough and revealing accounts of this haunting-to-horrifying type of fiction from the 1760s (the decade of The Castle of Otranto, the first so-called 'Gothic story') to the end of the twentieth century (an era haunted by filmed and computerized Gothic simulations). Along the way, these essays explore the connections of Gothic fictions to political and industrial revolutions, the realistic novel, the theatre, Romantic and post-Romantic poetry, nationalism and racism from Europe to America, colonized and post-colonial populations, the rise of film and other visual technologies, the struggles between 'high' and 'popular' culture, changing psychological attitudes towards human identity, gender and sexuality, and the obscure lines between life and death, sanity and madness. The volume also includes a chronology and guides to further reading.

Stories of vampires, werewolves, zombies, witches, goblins, mummies, and other supernatural creatures have existed for time immemorial, and scary stories are among the earliest types of fiction ever recorded. Historical Dictionary of Horror Literature is an invaluable aid in studying horror literature, including influential authors, texts, terms, subgenres, and literary movements. This book contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 400 cross-referenced entries covering authors, subgenres, tropes, awards, organizations, and important terms related to horror. Historical Dictionary of Horror Literature is an excellent resource for students, researchers, and anyone wanting to know more about horror literature.

This first volume of The Cambridge History of the Gothic provides a rigorous account of the Gothic in Western civilisation, from the Goths' sacking of Rome in 410 AD through to its manifestations in British and European culture of the long eighteenth century. Written by international cast of leading scholars, the chapters explore the interdisciplinary nature of the Gothic in the fields of history, literature, architecture and fine art. As much a cultural history of Gothic as an account of the ways in which the Gothic has participated within a number of formative historical events across time, the volume offers fresh perspectives on familiar themes while also drawing new critical attention to a range of hitherto overlooked concerns. From writers such as Horace Walpole and Ann Radcliffe to eighteenth-century politics and theatre, the volume provides a thorough and engaging overview of early Gothic culture in Britain and beyond.