Monstrous textuality emerges when Gothic narratives like Frankenstein reflect the monstrous in their narrative structure to create narratives of resistance, and allows writers to meta-narratively reflect their own poetics and textual production, and reclaim authority over their work under circumstances of systemic cultural oppression and Othering. This book traces the representation of other Others through Black feminist hauntology in Toni Morrison's Beloved (1987) and Love (2003); it explores fat freak embodiment as a feminist resistance strategy in Angela Carter's Nights at the Circus (1984) and Margaret Atwood's Lady Oracle (1976); and it reads Atwood's MaddAddam trilogy (2003-13) and Shelley Jackson's Patchwork Girl (1995) within a framework of critical posthumanist and cyborg theory. The result is a comprehensive argument about how these texts can be read within a framework of critical posthumanist questioning of knowledge production, and of epistemological exploration, beyond the exclusionary humanist paradigm.

Posthuman Gothic is an edited collection of thirteen chapters, and offers a structured, dialogical contribution to the discussion of the posthuman Gothic. Contributors explore the various ways in which posthuman thought intersects with Gothic textuality and mediality. The texts and media under discussion - from I am Legend to In the Flesh, and from Star Trek to The Truman Show, transgress the boundaries of genre, moving beyond the traditional scope of the Gothic. These texts, the contributors argue, destabilise ideas of the human in a number of ways. By confronting humanity and its Others, they introduce new perspectives on what we traditionally perceive as human. Drawing on key texts of both Gothic and posthumanist theory, the contributors explore such varied themes as posthuman vampire and zombie narratives, genetically modified posthumans, the posthuman in video games, film and TV, the posthuman as a return to nature, the posthuman's relation to classic monster narratives, and posthuman biohorror and theories of prometheanism and accelerationism. In its entirety, the volume offers a first attempt at addressing the various intersections of the posthuman and the Gothic in contemporary literature and media.

Gothic Afterlives examines the intersecting dimensions of contemporary Gothic horror and remakes scholarship, bringing together innovative perspectives from different areas of study. The research compiled in this collection covers a wide range of examples, including not only literature but also film, television, video games, and digital media remakes. Gothic Afterlives signals the cultural and conceptual impact of Gothic horror on transmedia production, with a focus on reimagining and remaking. While diverse in content and approach, all chapters pivot on two important points: first, they reflect some of the core preoccupations of Gothic horror by subverting cultural and social certainties about notions such as the body, technology, consumption, human nature, digitalization, scientific experimentation, national identity, memory, and gender and by challenging the boundaries between human and inhuman, self and Other, and good and evil. Second, and perhaps most important, all chapters in the collection collectively show what happens when well-known Gothic horror narratives are adapted and remade into different contexts, highlighting the implications of the mode-shifting registers, platforms, and chronologies in the process. As a collection, Gothic Afterlives hones in on contemporary sociocultural experiences and identities as they appear in contemporary popular culture and in the stories told and retold in the twenty-first century.

Gothic Afterlives examines the intersecting dimensions of contemporary Gothic horror and remakes scholarship, bringing together innovative perspectives from different areas of study. The research compiled in this collection covers a wide range of examples, including not only literature but also film, television, video games, and digital media remakes. Gothic Afterlives signals the cultural and conceptual impact of Gothic horror on transmedia production, with a focus on reimagining and remaking. While diverse in content and approach, all chapters pivot on two important points: first, they reflect some of the core preoccupations of Gothic horror by subverting cultural and social certainties about notions such as the body, technology, consumption, human nature, digitalization, scientific experimentation, national identity, memory, and gender and by challenging the boundaries between human and inhuman, self and Other, and good and evil. Second, and perhaps most important, all chapters in the collection collectively show what happens when well-known Gothic horror narratives are adapted and remade into different contexts, highlighting the implications of the mode-shifting registers, platforms, and chronologies in the process. As a collection, Gothic Afterlives hones in on contemporary sociocultural experiences and identities as they appear in contemporary popular culture and in the stories told and retold in the twenty-first century.