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Following the publication of Ghost Town (2005), a complex, globally
conscious genealogy of millennial Manhattan, McGrath's
transnational status as an English author resident in New York, his
pointed manipulation of British and American contexts, and his
clear apprehension of imperial legacies have all come into sharper
focus. By bringing together readings cognizant of this
transnational and historical sensitivity with those that build on
existing studies of McGrath's engagements with the gothic and
madness, Patrick McGrath and his Worlds sheds new light on an
author whose imagined realities reflect the anxieties, pathologies,
and power dynamics of our contemporary world order. McGrath's
fiction has been noted as parodic (The Grotesque, 1989),
psychologically disturbing (Spider, 1990), and darkly sexual
(Asylum, 1996). Throughout, his corpus is characterized by a
preoccupation with madness and its institutions and by a nuanced
relationship to the gothic. With its international range of
contributors, and including a new interview with McGrath himself,
this book opens up hitherto underexplored theoretical perspectives
on the key concerns of McGrath's ouevre, moving conversations
around McGrath's work decisively forward. Offering the first
sustained exploration of his fiction's transnational and
world-historical dimensions, Patrick McGrath and his Worlds seeks
to situate, reflect upon, and interrogate McGrath's role as a key
voice in Anglophone letters in our millennial global moment.
The Edinburgh Companion to Globalgothic is the most substantial
exploration to date of gothic fiction in the international context.
Examining texts from across six continents, the volume considers
how gothic imagines, colludes with or interrogates relationships
and phenomena that are planetary in scale. Accordingly, chapters
address gothic engagements with - among others - resource
imperialism, (ongoing) colonial history, diasporic identity,
buckling economic unions, the rise of the internet,
enthnonationalism, and entangled systems of gendered, racialised
and ecocidal power. In this way, the collection moves decisively
beyond the framework of globalisation to identify a range of new
globalgothic approaches and modes, overall demonstrating that
gothic is a key - though sometimes complicit - register for
negotiating the challenges and histories of our uneven global
present.
Following the publication of Ghost Town (2005), a complex, globally
conscious genealogy of millennial Manhattan, McGrath's
transnational status as an English author resident in New York, his
pointed manipulation of British and American contexts, and his
clear apprehension of imperial legacies have all come into sharper
focus. By bringing together readings cognizant of this
transnational and historical sensitivity with those that build on
existing studies of McGrath's engagements with the gothic and
madness, Patrick McGrath and his Worlds sheds new light on an
author whose imagined realities reflect the anxieties, pathologies,
and power dynamics of our contemporary world order. McGrath's
fiction has been noted as parodic (The Grotesque, 1989),
psychologically disturbing (Spider, 1990), and darkly sexual
(Asylum, 1996). Throughout, his corpus is characterized by a
preoccupation with madness and its institutions and by a nuanced
relationship to the gothic. With its international range of
contributors, and including a new interview with McGrath himself,
this book opens up hitherto underexplored theoretical perspectives
on the key concerns of McGrath's ouevre, moving conversations
around McGrath's work decisively forward. Offering the first
sustained exploration of his fiction's transnational and
world-historical dimensions, Patrick McGrath and his Worlds seeks
to situate, reflect upon, and interrogate McGrath's role as a key
voice in Anglophone letters in our millennial global moment.
The term 'Gothic' has rarely been brought to bear on contemporary
South African fictions, appearing too fanciful for the often
overtly political writing of apartheid and post-apartheid South
Africa. As the first book-length exploration of Gothic impulses in
South African literature, this volume accounts for the Gothic
currents that run through South African imaginaries from the
late-nineteenth century onwards. South African Gothic identifies an
intensification in Gothic production that begins with the nascent
decline of the apartheid state, and relates this to real anxieties
that arise with the unfolding of social and political change. In
the context of a South Africa unmaking and reshaping itself, Gothic
emerges as a language for long-suppressed histories of violence,
and for ongoing experiences at odds with utopian images of the new
democracy. Its function is interrogative and ultimately creative:
South African Gothic challenges narrow conceptions of the status
quo to drive at alternative, less exclusionary visions.
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