Internet Resources:

CASTRICANO, C. Jodey. "If a Building is a Sentence, So is a Body: Kathy Acker and the Postcolonial Gothic" In The American Gothic: New Interventions in a National Narrative, eds. R.K. Martin & Eric Savoy. Iowa City: University Iowa Press, 1998: 202-214. On Kathy Acker's Empire of the Senseless which "takes up the question of imperialism and colonialism where Conrad's Heart of Darkness leaves off. Speculates on the emergence of a Gothic in a postcolonial America and suggests that the politics of violence in the gothic has found a new incarnation in the cyberfiction of modern military/industrial society."

WITHERINGTON, Paul. "Albee's Gothic: The Resonance of Cliché." 1852A].

PIGGFORD, George. "Looking into Black Skulls: American Gothic, the Revolutionary Theatre, and Amiri Baraka's Dutchman" In The American Gothic: New Interventions in a National Narrative, Eds. R.K. Martin & Eric Savoy. Iowa City: University Iowa Press, 1998: 143-160. Shows how Baraka's play departs from Leslie Fiedler concept of Gothic blackness in Love and Death in the American Novel. "Fiedler's study focuses mainly on the trope of blackness utilized in the writing of white Americans. Baraka's text, by contrast, thematizes the trope of whiteness in the black imagination. In Baraka's writing, it is the blacks who are being terrorized, not the whites."

WALLACE, Mark Dewey. "The End of Time: The Gothic Universe in the Fiction of Paul Bowles and William Burroughs." Dissertation Abstracts International 55:6 (1994): 1564A (SUNY-Buffalo). Examines how these two American authors "reshape the possibilities of gothic narrative in order to challenge contemporary western social and narrative structures. Argues that there is a fundamental relation between fiction and other cultural narratives such as biography and history."Also presents "a defense of the cultural value of gothic narrative, looking at the history of such narrative and implications of its value in the work of such thinkers as Freud and Sartre."

MORGENSTERN, Naomi E. " ' Love is Home-Sickness:' Nostalgia and Lesbian Desire in Sapphira and the Slave Girl." Novel 29 (1996): 184-205. Investigates Willa Cather's Sapphira and the Slave Girl as an American Gothic work. Explains that reading the novel in this way provides a way of understanding the relation between the nostalgia that permeates the novel and its brutal content, The novel generates its narrative out of attempts to distance, disguise, or contain scenes of brutality by staging an escape from the trauma of "unspeakable" sexuality. Concludes that the idealization of the mother-daughter reunion becomes the substitute for both a traumatic initiation into heterosexuality and a sadistic expression of lesbian desire.

ROSOWSKI, Susan J. "Willa Cather's American Gothic: Sapphira and the Slave Girl." 1261].

SEIVERT, Debra J. "Resounding Voices: Willa Cather's Literary Braiding of Robert Louis Stevenson, James M. Barrie, and and Edgar Allan Poe." Dissertation Abstracts International 61:4 (2000): 1409 (University of Nebraska-Lincoln). The Poe sections of the dissertation comment extensively on Cather's adaptation of Poe's techniques and his frenzied characters to many of her pastoral tales and novels. Cather expanded rather than repeated Poe's Gothicism to "create a Gothic realism and heightened its effect by blending Gothic elements with real-world experiences."

STRYCHACZ, Thomas. "A Note on Willa Cather's Use of Edgar Allan Poe's ' The Pit and the Pendulum ' in The Professor's House." Modern Fiction Studies 36 (1990): 57-60.

WOLFF, Cynthia Griffin. "The Artist's Palette: Early Cather." Willa Cather Pioneer Memorial Newsletter, 40:1 (1996): 1.

KEHL, Del G. "An American Tragedy and Dreiser's Cousin, Mr. Poe." 1246].

MORGENSTERN, Naomi. " ' There Is Nothing Else Like This ': Sex and Citation in Pornogothic Feminism" In Sex Positives? The Cultural Politics of Dissident Sexualities, Eds. Thomas Foster, Carol Siegel, Ellen Berry. New York: New York UP, 1997: 36-67.On pornographic and Gothic conventions in Andrea Dworkin's novel Mercy.

FOWLER, Douglas. "The Wasteland as Gothic Fantasy: Theology in Scary Pictures" In Approaches to Teaching Eliot's Poetry and Plays. 1236].

TABACHNICK, Steve. "The Gothic Modernism of T. S. Eliot's Waste Land and What Martin Rowson's Graphic Novel Tells Us about It and Other Matters" In Readerly Writerly Texts: Essays on Literature, Literary Textual Criticism, and Pedagogy (Portales, NM) 8:1-2 (2000): 79-92. 

DENDINGER, Lloyd N. "The Ghoul-Haunted Woodland of Robert Frost." 1824].

INGEBRETSEN, Edward J. " ' Design of Darkness to Appall ': Religious Terror in the Poetry of Robert Frost." Robert Frost Review, (1993): 50-57.

WERNER, Derek Whitney. "Toward a Model of Performance-Based Criticla Reading; A Study of Ensemble Rehearsal and Performance in a Production of William Gibson's ' Neuromancer ' " Dissertation Abstracts International 58:11 (1997): 4128A (Northwestern University). On the adaptation and performance process associated with a production of William Gibson's novel Neuromancer. "Chapter two places Neuromancer in historical context, both within speculative fiction and with several larger generic traditions, including utopian/dystopian writing and the gothic novel, as well as American film noir." 

GREINER, Donald J. Comic Terror: The Novels of John Hawkes. 1830].

EVANS, Odette L'Henry. "A Feminist Approach to Patricia Highsmith's Fiction." 1234].

CURREN, Erik D. "Should Their Eyes Have Been Watching God? Hurston's Use of Religious Experience and Gothic Horror." African American Review, 29:1 (1995): 17-25.

RICHARDS, Connie. "Nancy Drew: Gothic or Romance?" Feminisms 3:5 (1990): 18-[data] On Carolyn Keene's juvenile romances. 

FALVEY, Ellen Katherine. "Reconstructed Virtue: Grace King's Gothic Realism." Dissertation Abstracts International 54:4 (1998): 1163A (New York University). The Gothic aspects of Grace Elizabeth King's fiction have not been extensively explored. Argues that the Gothic is the fictional mode best suited to express the socially and psychically unsettling war-made reversals of class, race, and gender hierarchies in the post-war South." King is a precursor to later "Southern Gothic" writers such as Faulkner, McCullers, and O'Connor. 

ADAIR, Gerald M. "Feasting with Banquo: The Ghost Stories of Fritz Leiber." Master's Thesis, Florida Atlantic University, 2000. Leiber's "urban settings (Chicago, San Francisco) may be seen as contemporary reinterpretations of Horace Walpole's Gothic castle, . . . [but] his specters are the lineal descendants of Shakespeare's, LeFanu's, and Henry James's." Analyzes Leiber's long ghost story "Our Lady of Darkness" and "The Smoke Ghost." 

CROW, Charles L. "Jack London's The Sea-Wolf as Gothic Romance" In Gothick Origins and Innovations. Eds. Victor Sage & Allan Lloyd Smith. Amsterdam; Atlanta, Georgia: Rodopi; Costerus New Series 91, 1994, pp. 123-131. "Gothic naturalism at first seems an oxymoron," but the two forms naturally and forcefully combine in The Sea-Wolf. Wolf Larsen is "at once naturalistic brute and Gothic hero/villain. Against Wolf's Gothic hero-villain, Humphrey [Van Weyden] is made to play the stock normative character, and dramatize the reader's responses of mixed admiration and horror."

________. "Jack London's Samuel as Gothic Tale: The Terrible and Tragic Involved with Love." Litteraria Pragensia 11:21 (2001): 81-87. Links the imagination of the naturalist writers especially by way of Poe's works. "Many texts by these authors can be read as Gothic narratives, or Gothic-Naturalist hybrids. London's "unsettling and truly strange" Gothic short story "Samuel" is directly in the the vein of Poe's psychological Gothic and is "built on the pair of words 'canny' and 'uncanny.'"

DEN TANDT, Christophe. "Naturalist Gothic: Populations, Economics, and Urban Genealogies" and "Naturalist Gothic and the Regeneration of Artistic Identity" In The Urban Sublime in American Literary Naturalism. Urbana: Univ. of Illinois Press, 1998: 123-162, 195-221. Discusses Jack London's People of the Abyss (1903), a non-fiction investigation of the slum's of London's east end. Also discusses London's Sea Wolf, Frank Norris's Vandover and the Brute and McTeague, and Charlotte Perkins Gilman's "The Yellow Wallpaper." Using "the medium of Gothic discourse, naturalist authors use the subset of the rhetoric of sublimity in order to express the most defamiliarizing aspects of the urban scene. The Gothic idiom constitutes a decisive testing ground for writers eager to determine if their aesthetic practice and artistic personae measure up to the constaints of the metropolis. 

MC FATTER, Susan Prothro. "Parody and Dark Projections: Medieval Romance and the Gothic in McTeague." Western American Literature 26:2 (1996): 119-135. 

WYATT-BROWN, Bertram. "Percy Forerunners, Family History, and the Gothic Tradition" In Walker Percy: Novelist and Philosopher. 1282].

MEIKLE, Jeffrey L. " ' Other Frequencies:' The Parallel Worlds of Thomas Pynchon and H. P. Lovecraft." 1774].

FREIER, Mary P. "The Decline of Hilda Adams" In Women Times Three: Writers, Detectives, Readers, Ed. Kathleen Gregory Klein. Bowling Green, OH: Popular, 1996: 129-141. On Mary Roberts Rinehart.

MAIO, Kathleen L. "Had-I-But-Known: The Marriage of Gothic Terror and Detection" In The Female Gothic. 1440]. 

GROSS, David S. "No Place to Hide: Gothic Naturalism in O. E. Rölvaag's Giants in the Earth" In Frontier Gothic: Terror and Wonder at the Frontier in American Literature. 1238].

CARTER, Catherine Westbrook. ''That Festive Tumult': J. R. Salamanca's Participation in the Postmodern." Dissertation Abstracts International 60:8 (2000): 2916 University of Delaware). The novels of J. R. Salamanca participate in and partake of "the postmodern Gothic." Chapter three places the novels within the tradition of the postmodern Gothic. It argues that "nature writing and the Gothic are related, and uses the work of Ann Williams to argue that Salamanca's novels demonstrate a progression from the mode of Gothic" defined by Williams as male and female Gothic. 

GIACOPPE, Monika Frances. "Creating a Usable Past: History in Contemporary Inter-American Women's Fiction." Dissertation Abstracts International 61:8 (2001): 3159 Pennsylvania State University). Bases its argument on the premise that "women in the Americas have inherited a doubly ruptured past." The Canadian writer Margaret Atwood and the native American writer Leslie Marmon Silko "combat this cultural amnesia and work toward establishing a sense of tradition and continuity for Inter-American women. Both writers employ Gothic techniques to make their statements. Also studies women writers from Guadeloupe, Puerto Rico, and Brazil.

SANDERS, Scott P. "Southwestern Gothic: On the Frontier Between Landscape and Locale" In Frontier Gothic: Terror and Wonder at the Frontier in American Literature. 0845].

BOYD, Molly. "Rural Identity in the Southern Gothic Novels of Mark Stedman." Studies in the Literary Imagination 27:2 (1994): 41-54. On the Gothicism of McAfee County and Angel Child. 

COALE, Samuel. "Styron's Disguises: A Provisional Rebel in Christian Masquerade" In The Critical Response to William Styron, Ed. Daniel W. Ross. Westport, CT; Greenwood Press, 1995: 109-117. 

JONES, R. B. "Gothic Conventions in Jean Toomer's The Eye." 1243].

OWENS, Louis. " ' Grinning Aboriginal Demons:' Gerald Vizenor's Bearheart and the Indian's Escape from Gothic" In Frontier Gothic: Terror and Wonder at the Frontier in American Literature. 1257].

VELIE, Alan R. "Gerald Vizenor's Indian Gothic." MELUS: The Journal of the Society for the Study of Multi-Ethnic Studies 17:1 (1991): 75-85.

DOUGLAS, Wallace W. "Drug Store Gothic: The Style of Robert Penn Warren." 1825].

LONG, Robert Sterling. "Warren Mounts His Horse: Flood's Author as Southern Gothic/Grotesque Writer" In "To Love So Well a World": A Festscrift in Honor of Robert Penn Warren. 1248].

PATTISON, Felicia Squires. " ' The Made Thing ' : Self, Community, and Art in the Later Fiction of Robert Penn Warren" Dissertation Abstracts International 59:4 (1998): 1168A (Catholic University of America). Explores "the relationship of self to community in Robert Penn Warren's later novels." Chapter Five provides a reading of Meet Me in the Green Glen (1971) "in light of the southern Gothic tradition and in the context of the struggle for narrative power and authority between characters with differing degrees of articulation." 

ALLEN, Brooke. "A Universal Region: The Fiction of Eudora Welty." The New Criterion 18:2 (1999): 35-41. Comments on Welty's early stories "Petrified Man" and "Why I Live at the P.O." as what "could loosely be described as Southern Gothic. Not all her attempts have been successful, but there are numerous pieces that are quite brilliant and even a few that can confidently be called great."

APPEL, Alfred. "The Grotesque and the Gothic" In A Season of Dreams: The Fiction of Eudora Welty. 1220].

WESTON, Ruth Deason. " ' Nothing So Mundane as Ghosts:' Eudora Welty and the Gothic." 1279].

________. Gothic Traditions and Narrative Techniques in the Fiction of Eudora Welty. Baton Rouge, LA; Louisiana State UP, 1994. 

DERSNAH, James Louis. "The Gothic World of Tennessee Williams." 1230].