Although the preoccupation of Gothic storytelling with the family has often been observed, it invites a more systematic exploration. Gothic kinship brings together case studies of Gothic kinship ties in film and literature and offers a synthesis and theorisation of the different appearances of the Gothic family. Writers discussed include early British Gothic writers such as Eleanor Sleath and Louisa Sidney Stanhope as well as a range of later authors writing in English, including Elizabeth Gaskell, William March, Stephen King, Poppy Z. Brite, Patricia Duncker, J. K. Rowling and Audrey Niffenegger. There are also essays on Dutch authors (Louis Couperus and Renate Dorrestein) and on the film directors Wes Craven and Steven Sheil. Arranged chronologically, the various contributions show that both early and contemporary Gothic display very diverse kinship ties, ranging from metaphorical to triangular, from queer to nuclear-patriarchal. Gothic proves to be a rich source of expressing both subversive and conservative notions of the family. Gothic kinship will be of interest to academics and students of European and American Gothic in literature and film, gender studies and cultural studies. -- .

One of the most successful and critically acclaimed authors in Britain, Patrick McGrath has also been a key figure in the recent resurgence of interest in the Gothic. This book, the first full-length study of McGrath and his work, looks at McGrath's writing through the lens of the Gothic, showing how he has pushed the boundaries of the genre, using the conventional trappings of the Gothic in creative, even parodic new ways. Drawn in part from interviews with McGrath, some previously unpublished, the book not only sets McGrath's work in the context of the Gothic tradition and his own times, but also helps the reader understand McGrath's own sense of his identity as a writer.

A re-assessment of the Gothic in relation to the female, the 'feminine', feminism and post-feminism This collection of newly commissioned essays brings together major scholars in the field of Gothic studies in order to re-think the topic of 'Women and the Gothic'. The 14 chapters in this volume engage with debates about 'Female Gothic' from the 1970s and '80s, through second wave feminism, theorisations of gender and a long interrogation of the 'women' category as well as with the problematics of post-feminism, now itself being interrogated by a younger generation of women. The contributors explore Gothic works - from established classics to recent films and novels - from feminist and post-feminist perspectives. The result is a lively book that combines rigorous close readings with elegant use of theory in order to question some ingrained assumptions about women, the Gothic and identity. Key Features Revitalises the long-running debate about women, the Gothic and identity Engages with the political agendas of feminism and post-feminism Prioritises the concerns of woman as reader, author and critic Offers fresh readings of both classic and recent Gothic works

"I finished "The Heroine" last night and was very much amused by it. It diverted me exceedingly. I have torn through the third volume; I do not think it falls off. It is a delightful burlesque..." - Jane Austen

""Everybody" has read "The Heroine"]. There is no one so superlatively unhappy as not to have done this thing. But if such there be - if by any possibility such person should exist, we have only a few words to say to him. Go, silly man, and purchase forthwith '"The Heroine: or Adventures of Cherubina."' There are few books written with more tact, spirit, naivete, or grace, ...] and none more fairly entitled to rank among the classics of English literature than the Heroine of Eaton Stannard Barrett." - Edgar Allan Poe, in "The Southern Literary Messenger" (1835)

Young Cherry Wilkinson, the daughter of a farmer, has read one too many Gothic novels. And when she discovers a mysterious fragment of parchment and an antiquated portrait in her father's desk, she becomes convinced that she is a heroine and an heiress, and that the farmer is not her father, but instead an assassin with designs upon her life.

Renaming herself Cherubina, she deserts her home and sets off on a mad romp across England, determined to recover her lost domains and unravel her true parentage. But after a series of madcap and hilarious adventures, she comes to find that modern-day English law and society do not always permit a young lady to behave like a character out of a romantic tale. And when a handsome but dissolute young actor learns of Cherry's father's wealth and her mania for Gothic novels and styles himself Lord Montmorenci in an attempt to deceive her into a marriage, Cherubina will need all of her heroine's wit to defeat the nefarious plot

A brilliant comic novel that went through numerous editions in its time and earned widespread critical acclaim, "The Heroine" (1813) has recently been badly neglected and has been out of print for almost a century. This edition features a substantial new introduction by internationally known Gothic scholars Avril Horner and Sue Zlosnik, the unabridged text of the first edition, and detailed endnotes.