From creepy picture books to Harry Potter to Lemony Snicket to the
Spiderwick Chronicles to countless vampire series for young adult
readers, fear has become a dominant mode of entertainment for young
readers. The last two decades have seen an enormous growth in the
critical study of two very different genres, the Gothic and
children's literature.
The Gothic, concerned with the perverse and the forbidden, with
adult sexuality and religious or metaphysical doubts and heresies,
seems to represent everything that children's literature, as a
genre, was designed to keep out. Indeed, this does seem to be very
much the way that children's literature was marketed in the late
eighteenth century, at exactly the same time that the Gothic was
really taking off, written by the same women novelists who were
responsible for the promotion of a safe and segregated children's
literature.
Gothic elements can, in fact, be traced in children's literature
for as long as children have been reading. This collection examines
the early intersection of the Gothic and children's literature and
the contemporary manifestations of the gothic impulse.
General
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