Internet Resources:

GILBERT, R. A. "Ainsworth, William Harrison (1805-1882)" In The Handbook to Gothic Literature, Ed. Marie Mulvey-Roberts. New York: New York University Press, 1998: 1. Comments briefly (perhaps too briefly) on the Gothicism of Rookwood, Jack Sheppard, and the Lancashire Witches, but omits The Old Tower of London, perhaps Ainsworth’s most Gothic novel. “While supernatural episodes occasionally crept in [to these and other works], the Romantic elements faded away and with them his claim to be a writer of the Gothic.

SANDERS, Andrew. "A Gothic Revival: William Harrison Ainsworth's The Tower of London" In The Victorian Historical Novel 1840-1880. 1396

SCHROEDER, Natalie. "William Harrison Ainsworth" In Supernatural Fiction Writers, Ed. E. F. Bleiler. New York: Charles Scribner's Sons, 1985: 187-193.

STABLEFORD, Brian. "AINSWORTH, W(illiam) Harrison" In St. James Guide to Horror, Ghost, & Gothic Writers, Ed. David Pringle. Detroit: St. James Press/Gale, 1998: 9-10.

VOLLER, Jack G. "William Harrison Ainsworth." In Gothic Writers: A Critical and Bibliographical Guide, Eds. Douglass H. Thomson, Jack G. Voller, Frederick S. Frank. Westport, CT: Greenwood Press, 2002: 7-11.

ARMITT, Lucie. "The Magical Realism of Contemporary Gothic" In A Companion to the Gothic, Ed. David Punter. Oxford, UK & Malden, MA: Blackwell Publishers, 2000: 305-316. On Iain Banks's novel The Crow Road (1992). Although the novel has most of the formal trappings of the classical Gothic, "this is not a Gothic novel in the manner of The Castle of Otranto (1764). Instead The Crow Road is a hybrid form, straddling the divide between the Gothic and one of the most creative influences upon twentieth-century fiction: the fascinating territory of the magical real."

SAGE, Victor. "The Politics of Petrifaction: Culture, Religion, History in the Fiction of Iain Banks and John Banville" In Modern Gothic: A Reader, Eds. Victor Sage and Allan Lloyd Smith. Manchester & New York: Manchester UP, 1996: 20-37.

SAGE, Victor. "The Politics of Petrifaction: Culture, Religion, History in the Fiction of Iain Banks and John Banville" In Modern Gothic: A Reader, Eds. Victor Sage and Allan Lloyd Smith. Manchester & New York: Manchester UP, 1996: 20-37.  

LEWIS, Paul. "Laughing at Fear: Two Versions of the Mock Gothic." 1028

HORNER, Avril & Sue ZLOSNIK. "Dead Funny: Eaton Stannard Barrett's The Heroine as Comic Gothic." Cardiff Corvey: Reading the Romantic Text 5 (Nov 2000): Online: Internet 21 June 2002: <www.cf.ac.uk/encap/ corvey/articles/cc05_no.2.html>. Argues that the "accomplished parodic text does not merely react to another text or genre but forms part of a sophisticated cultural dialogue in which humour and wit assert themselves." By its skillful referents to the discourses of Romanticism, the novel "produce[s] a witty and penetrating analysis of the literature and culture of its time."

JACKSON, Jessamyn. "Why Novels Make Bad Mothers," Novel 27 (1994): 161-174. Examines Eaton Stannard Barrett's Gothic parody, The Heroine, contending that this work supplies special insight into the cultural logic of the redefinition of the novel as the preserve of masculine authority. Concludes that Barrett "narrates the novel through a female voice only to break readers of their identification with the heroine and their aspirations to a dangerous literary matriarchy."

KELLY, Gary. "On Becoming a Heroine: Novel Reading, Romanticism, and Barrett's The Heroine." 0795

RALEIGH, Walter. "Introduction" to The Heroine; or, The Adventures of a Fair Romance Reader. 1029

SADLEIR, Michael. "Introduction" to The Heroine; or, The Adventures of a Fair Romance Reader. 1030 

FRASER, Graham. " ' No More Than Ghosts Make ' : The Hauntology and Gothic Minimalism of Beckett's Late Work," Modern Fiction Studies 46:3 (2000): 772-785.

HANSEN, James Arthur. "Gothic Phantoms of the Modern: Gothic Histories and Materialist Criticism in Irish Modernism." Dissertation Abstracts International 62:3 (2001): 1032 (University of Notre Dame). Using the writings of the philosophers Theodor Adorno and Walter Benjamin as a theoretical framework, the study explores the structure and history of the Gothic and "the ways in which James Joyce and Samuel Beckett use and distort its forms in order to provide a re-reading of history. The Irish are both on the inside and the outside of European History. They have access to the European philosophies and cultures that came up with theories of modern subjectivity, but they also struggle with the material and economic conditions of colonization."

OLSEN, Lance. "Beckett and the Horrific" In Staging the Impossible: The Fantastic Mode in Modern Drama. 801 

ASHLEY, Mike. "BLACKWOOD, Algernon (Henry)" In St. James Guide to Horror, Ghost, & Gothic Writers, Ed. David Pringle. Detroit: St. James Press/Gale, 1998: 59-62.

GRILLOU, Jean-Louis. "Loup-Garou, Mandorle et Mandorla: Le motif de loup-garou dan les nouvelles d'Algernon Blackwood." 1415

HEALY, Sharon. "Algernon Blackwood's Gentle Gothic." The Romantist (1985-1986): 9-10, 61-64.

JOSHI, S. T. "Algernon Blackwood: The Expansion of Consciousness" In The Weird Tale: Arthur Machen, Lord Dunsany, Algernon Blackwood, M. R. James, Ambrose Bierce, H. P. Lovecraft. 0794

WILLARD, Thomas. "Blackwood, Algernon (1869-1951)" In The Handbook to Gothic Literature, Ed. Marie Mulvey-Roberts. New York: New York University Press, 1998: 25-27.

O'CONNOR, Robert H. "Introduction to William Henry William Bunbury's Tales of the Devil. Lewiston, NY: Edwin Mellen, 1994.

CRAWFORD, Gary William. "Urban Gothic: The Fiction of Ramsey Campbell" In Discovering Modern Horror Fiction. 0785

JOSHI, S. T. "CAMPBELL, (John) Ramsey" In St. James Guide to Horror, Ghost, & Gothic Writers, Ed. David Pringle. Detroit: St. James Press/Gale, 1998: 120-123. Refers to Campbell as "the most significant writer in the field since Lovecraft," a modern Gothicist whose "cheerlessly dark vision" guarantees him a permanent place in the history of horror.

MENEGALDO, Giles. "Gothic Convention and Modernity in John Ramsay Campbell's Short Fiction" In Modern Gothic: A Reader, Eds. Victor Sage and Allan Lloyd Smith. Manchester & New York: Manchester UP, 1996:188-197.

MORRISON, Michael A. "The Forms of Things Unknown: Metaphysical and Domestic Horror in Ramsey Campbell's Incarnate and Night of the Claw." 0799

TARR, Sister Mary Muriel. "Introduction" to The Monk of Udolpho; A Romance. 1031

BESSON, Françoise. "Une Mathematique de l'eau étrange dans Romance of the Pyrenees." Caliban, 33 (1996): 63-71. On Catherine Cuthbertson's Romance of the Pyrenees (1803). [A mathematics of the strange water in Romance of the Pyrenees]

LANGFORD, David. "DAHL, Roald" In St. James Guide to Horror, Ghost, & Gothic Writers, Ed. David Pringle. Detroit: St. James Press/Gale, 1998: 163-165.

WARREN, Alan. "Roald Dahl: Nasty, Nasty" In Discovering Modern Horror Fiction. 0808

AUFFRET-BOUCÉ, Helene. "Rebecca ou ' le péril en la demeure.' " Caliban 33 (1996): 93-10. [Rebecca or the peril of the home On the Gothicism of Daphne du Maurier's novel.

FLETCHER, John. "Primal Scenes and the Female Gothic: Rebecca and Gaslight." Screen 36:4 (1995): 341-370. On Hitchcock's film Rebecca and George Cukor's film Gaslight.

HORNER, Avril. "Daphne du Maurier and Gothic Signatures: Rebecca as Vamp(ire)" In Body Matters: Feminism, Textuality, Corporeality, Eds. Avril Horner, Angela Keane. Manchester: Manchester UP, 2000: 209-222.

HORNER, Avril & Sue ZLOSNIK. Daphne Du Maurier: Writing, Identity, and the Gothic Imagination. New York: St. Martin's Press, 1998. Is Daphne du Maurier an entertainer or a serious writer or both? Does the presence of the Gothic in her work reflect both her serious artistic concerns and her motive to entertain? The study probes these questions in an effort "to provide a fresh assessment of Daphne du Maurier's work and her status as a writer. Her best novels and short stories offer particularly interesting examples of how Gothic writing is inflected by both personal and broader cultural values and anxieties." A writer of unusal range and skill, she consciously turned to the Gothic tradition to "probe the boundaries of identity, including sexual identity" and rightfully belongs to the "female Gothic" tradition. Contents of the six chapters: 1. A. 'Disembodied Spirit'. Writing, Identity, and the Gothic Imagination. Writing, gender, and anxiety, Sexuality, historical moment, and identity, Du Maurier and the Gothic: dismbodied spirits? 2. Family Gothic. Cornish beginnings: The Loving Spirit, The 'split subject': I'll Never Be Young Again, The 'other' and the 'foreign': The Progress of Julius. 3. Cornish Gothic. Transgression and Desire: Jamaica Inn, 'The Boy in the Box': The King's General. 4. The Secrets of Manderley: Rebecca. 5. Foreign Affairs. 'Nightmère': My Cousin Rachel, The stranger in the mirror: The Scapegoat. 6. Murdering (M)others. Homecomings: The Flight of the Falcon, Deaths in Venice: 'Don't Look Now'. Has an endword, select bibliography, and index.

LIGHT, Alison. "Rebecca," Sight and Sound 6:5 (1996): 28-[data On the Gothic film.

SHALLCROSS, Martyn. The Private World of Daphne du Maurier. London: Robson, 1998.

TUTTLE, Lisa. "du MAURIER, Daphne" In St. James Guide to Horror, Ghost, & Gothic Writers, Ed. David Pringle. Detroit: St. James Press/Gale, 1998: 196-198.

FENWICK, Eliza. Secresy. Ed. Isobel Grundy. Peterborough, Ontario: Broadview Press, 1995.

SHROYER, Frederick. "Introduction" to The Abbot of Montserrat; or, The Pool of Blood. 1038

COLEMAN, William E. "Introduction" to The Priory of St. Bernard; An Old English Tale. 1047

SHAFFER, Julie. "Familial Love, Incest, and Female Desire in Late Eighteenth-Century British Women's Novels." Criticism 41:1 (1999): 67-99. Discusses works by Elizabeth Helme and Sarah Sheriffe together with Correlia; or, The Mystic Tomb, an anonymous Minerva Press Gothic published in 1802. Finds that "the easily blurred line between familialization and incest links the Gothic and sentimental novel in ways that bring the horror of incest or incestuously based betrayal close to the heart of sentimental fiction, making it a defining element of sensibility as it is of the Gothic. 

VARMA, Devendra P. "Introduction" to St. Margaret's Cave; or, The Nun's Story. 1052

FISHER, Benjamin Franklin IV. "Introduction" to The Abbess; A Romance. 1039

LOOMIS, Emerson R. "The Problem of the Gothic Novel in Wales." 1050

VARMA, Devendra P. "Introduction" to The Abbey of St. Asaph. 1051

CLUBBE, John. "Glenarvon Revised--and Revisited." 1040

FREEMANTLE, Anne. "Afterword" to Glenarvon. 1041

GARVER, Joseph. "Gothic Ireland: Lady Caroline Lamb's Glenarvon." 1042

KELSALL, Malcolm. "The Byronic Hero and the Revolution in Ireland: The Politics of Glenarvon." 1043

RUFF, James L. "Introduction" to Glenarvon. 1044

BATCHLOR, John. "Arthur Machen's The Hill of Dreams." 1196

CASSASSAZA, Alice C. "Arthur Machen's Treatment of the Occult and a Consideration of its Reception in England and America." 1197

GILBERT, R. A. "Machen, Arthur Llewellyn (1863-1947)" In The Handbook to Gothic Literature, Ed. Marie Mulvey-Roberts. New York: New York University Press, 1998: 151-152. Machen’s two greatest horror stories, The Great God Pan and Three Impostors, with their “nameless horrors, irruptions of ancient evil, and degenerate human characters” are “gloomily redolent of the Gothic rather than the ghost story.”

DANIELSON, Henry. Arthur Machen: A Bibliography. 1198

LETSON, Russell Francis Jr. "The Approaches to Mystery: The Fantasies of Arthur Machen and Algernon Blackwood." 1199

SOULA, Jean-Pierre. "Du Féerique au fantastique chez Arthur Machen." 1200

STARRETT, Vincent. Arthur Machen: A Novelist of Ecstasy and Sin. 1201

STABLEFORD, Brian. "MACHEN, Arthur (Llewellyn)" In St. James Guide to Horror, Ghost, & Gothic Writers, Ed. David Pringle. Detroit: St. James Press/Gale, 1998: 382-384.

STERN, Philip Van Doren. "Introduction" to Tales of Horror and the Supernatural by Arthur Machen. 1202

SWEETSER, Wesley D. "Arthur Machen: A Bibliography of Writings About Him." 1203

________. "Arthur Machen." 1204

VOLLER, Jack G. "Arthur Machen." In Gothic Writers: A Critical and Bibliographical Guide, Eds. Douglass H. Thomson, Jack G. Voller, Frederick S. Frank. Westport, CT: Greenwood Press, 2002: 278-282.

GARRETT, John. "Introduction" to Count St. Blancard; or, The Prejudiced Judge. 1048

MAYO, Robert D. "Introduction" to Grasville Abbey; A Romance. 1049

COLLINS, John H. "Critique of William Mudford." 1534

SUCKSMITH, Harvey. "Mrs. Gaskell's Mary Barton and William Mudford's The Iron Shroud." 1287

BROPHY, Brigid. "Introduction" to The Wild Irish Girl. 0782

BUTLER, Marilyn. Peacock Displayed: A Satirist in his Context. 1019

DODSON, Charles B. "Introduction" to Nightmare Abbey, The Misfortunes of Elphin, and Crochet Castle. 1020

GARNETT, David. "Introduction" to Thomas Love Peacock: The Complete Novels. 1021

GARSIDE, Peter. "Headlong Hall Revisited." 1022

PINKUS, Philip. "The Satiric Novels of Thomas Love Peacock." 1023

READ, Bill. "The Critical Reputation of Thomas Love Peacock with an Annotated Enumerative Bibliography of Works by and About Peacock from February, 1800 to June, 1958." 1024

________. "Thomas Love Peacock: An Enumerative Bibliography." 1025

STRAUSS, P. "Escape from Nightmare Abbey." 1026

TOMKINS, A. R. "Introduction" to Nightmare Abbey. 1027

ADAMS, Donald K. "The Second Mrs. Radcliffe." 1016

CAMPBELL, Thomas J. "The Other Mrs. Radcliffe: "The Female Advocate" in her Memoirs," Studies in the Humanities 24:1-2 (1997): 65-[data]

HOWELLS Coral Ann. "Introduction" to Manfroné; or, The One-Handed Monk. 1017

LUENGO, Anthony. "Wide Sargasso Sea and the Gothic Mode." 0798

KIMZEY, Donna Lee. " 'A Diagram of Rapture:': Petrarch, Gender, and Power in the Romantic Era (Mary Robinson, Anna Seward, Charlotte Smith, Emily Dickinson, Sappho)," Dissertation Abstracts International 57:8 (1996): 3507A (University of Virginia). Has material on the Gothic writers, Charlotte Smith and Mary Robinson. These writers struggle with "the construction of a gendered identity within the patriarchal order."

SETZER, Sharon. "Mary Robinson's Sylphid Self: The End of Feminine Self-Fashioning." Philological Quarterly, 75:4 (1996): 501-520.

VARMA, Devendra P. "Introduction" to Barozzi; or, The Venetian Sorceress. 1045

VARMA, Devendra P. "Introduction" to Netley Abbey: A Gothic Story. 1046

CARPI SERTORI, Daniela. "I Romanzi occultisimo di Dennis Wheatley: Fra letteratura d'élite e letteratura di consumo." 0783

LANGFORD, David. "WHEATLEY, Dennis (Yates)" In St. James Guide to Horror, Ghost, & Gothic Writers, Ed. David Pringle. Detroit: St. James Press/Gale, 1998: 637-639.

BRUNK, Terence M. " ' A Hurly-Burly in This Poor Women's Head ': The Gothic Character in Ann Yearsley's Authorial Identity," English Language Notes 37:4 (2000): 29-52. On Yearsley's Gothic novel, The Royal Captives (1795). "Yearsley's choice of a Radcliffean Gothic mode" resulted in a work that "evinces a transformative power that The Castle of Otranto, for all of its grotesque flights of fancy, cannot emulate."

KAHN, Madelaine. "'A By-Stander Often Sees More of the Game Than Those That Play': Ann Yearsley Reads The Castle of Otranto," Bucknell Review 42:1 (1998): 59-78.