Editing Gothic fiction (section)

===Nineteenth-century Gothic fiction===
{{See also|Penny dreadful|American Gothic fiction}}

[[File:Varney the Vampire or the Feast of Blood.jpg|thumb|upright|Cover of a ''[[Varney the Vampire]]'' publication, 1845]]
By the [[Victorian era]], Gothic had ceased to be the dominant genre for novels in England, partly replaced by more sedate [[historical fiction]]. However, Gothic short stories continued to be popular, published in magazines or as small [[chapbooks]] called [[penny dreadfuls]].<ref name="Birch"/> The most influential Gothic writer from this period was the American [[Edgar Allan Poe]], who wrote numerous short stories and poems reinterpreting Gothic tropes. His story "[[The Fall of the House of Usher]]" (1839) revisits classic Gothic tropes of aristocratic decay, death, and [[insanity]].<ref>(Skarda and Jaffe (1981) pp. 181–182.</ref> Poe is now considered the master of the American Gothic.<ref name="Birch"/>

In England, one of the most influential penny dreadfuls is the anonymously authored ''[[Varney the Vampire]]'' (1847), which introduced the [[trope (literature)|trope]] of [[vampire]]s having sharpened teeth.<ref>[http://www.huffingtonpost.com/brian-cronin/did-vampires-not-have-fan_b_8415636.html "Did Vampires Not Have Fangs in Movies Until the 1950s?"]. ''Huffington Post''. Retrieved 27 September 2017.</ref> Another notable English author of penny dreadfuls is [[George W. M. Reynolds]], known for ''[[The Mysteries of London]]'' (1844), ''Faust'' (1846), ''Wagner the Wehr-wolf'' (1847), and ''The Necromancer'' (1857).<ref>Baddeley (2002) pp. 143–144.)</ref> [[Elizabeth Gaskell]]'s tales "The Doom of the Griffiths" (1858), "Lois the Witch", and "The Grey Woman" all employ one of the most common themes of Gothic fiction: the power of ancestral [[sins]] to curse future generations, or the fear that they will. [[M. R. James]], an English medievalist whose stories are still popular today, is known as the originator of the "antiquarian ghost story." In Spain, [[Gustavo Adolfo Bécquer]] stood out with his romantic poems and short tales, some depicting supernatural events. Today some consider him the most-read Spanish writer after [[Miguel de Cervantes]].<ref>{{Cite news |url=http://www.laprovincia.es/cultura/2011/07/28/becquer-escritor-leido-despues-cervantes/390220.html |title=Bécquer es el escritor más leído después de Cervantes |date=July 28, 2011 |access-date=February 22, 2018 |newspaper=La Provincia. Diario de las Palmas |language=es}}</ref>
[[File:Jane Eyre.jpg|left|upright|thumb|Jane Eyre's trial through the moors in [[Charlotte Brontë]]'s ''[[Jane Eyre]]'' (1847)]]

In addition to these short Gothic fictions, some novels drew on the Gothic. [[Emily Brontë]]'s ''[[Wuthering Heights]]'' (1847) transports the Gothic to the forbidding Yorkshire Moors and features ghostly apparitions and a Byronic hero in the person of the demonic Heathcliff. The Brontës' fictions were cited by feminist critic [[Ellen Moers]] as prime examples of Female Gothic, exploring woman's entrapment within domestic space and subjection to patriarchal authority and the transgressive and dangerous attempts to subvert and escape such restriction.<ref>{{Cite book |title=Literary Women |last=Moers |first=Ellen |year=1976 |publisher=Doubleday |isbn=9780385074278}}</ref> Emily Brontë's ''Cathy'' and [[Charlotte Brontë]]'s ''[[Jane Eyre]]'' are examples of female protagonists in such roles.<ref>Jackson (1981) pp. 123–129.</ref> [[Louisa May Alcott]]'s Gothic potboiler, ''[[A Long Fatal Love Chase]]'' (written in 1866 but published in 1995), is also an interesting specimen of this subgenre. Charlotte Brontë's ''[[Villette (novel)|Villette]]'' also shows the Gothic influence, with its supernatural subplot featuring a ghostly nun, and its view of [[Roman Catholicism]] as exotic and heathenistic.<ref>{{cite journal |last1=Johnson |first1=E. D. H. |title="Daring the Dread Glance": Charlotte Brontë's Treatment of the Supernatural in Villette |journal=Nineteenth-Century Fiction |date=1966 |volume=20 |issue=4 |pages=325–336 |doi=10.2307/2932664|jstor=2932664 }}</ref><ref>{{cite journal |last1=Clarke |first1=Micael M. |title=Charlotte Brontë's "Villette", Mid-Victorian Anti-Catholicism, and the Turn to Secularism |journal=ELH |date=2011 |volume=78 |issue=4 |pages=967–989 |doi=10.1353/elh.2011.0030 |jstor=41337561 |s2cid=13970585 |issn=0013-8304|url=https://ecommons.luc.edu/cgi/viewcontent.cgi?article=1015&context=english_facpubs }}</ref> [[Nathaniel Hawthorne]]'s novel ''[[The House of the Seven Gables]]'', about a family's ancestral home, is colored with suggestions of the supernatural and [[witchcraft]]; and in true Gothic fashion, it features the house itself as one of the main characters.

[[File:The Night.jpg|thumb|"The Night" scene in Dickens' ''Bleak House'', depicting a murky [[Westminster Bridge]] in London]]
The genre also heavily influenced writers such as [[Charles Dickens]], who read Gothic novels as a teenager and incorporated their gloomy atmosphere and melodrama into his works, shifting them to a more modern period and an urban setting; for example, in ''[[Oliver Twist]]'' (1837–1838), ''[[Bleak House]]'' (1852–1853) and ''[[Great Expectations]]'' (1860–1861). These works juxtapose wealthy, ordered, and affluent civilization with the disorder and barbarity of the poor in the same metropolis. ''Bleak House,'' in particular, is credited with introducing [[smog|urban fog]] to the novel, which would become a frequent characteristic of urban Gothic literature and film.<ref>Mighall, 2007.</ref> [[Miss Havisham]] from ''Great Expectations'' is one of Dickens' most Gothic characters. The bitter recluse shuts herself away in her gloomy mansion ever since being jilted at the altar on her wedding day.<ref>{{cite news |title=The Gothic in Great Expectations |url=https://www.bl.uk/romantics-and-victorians/videos/the-gothic-in-great-expectations |access-date=16 August 2021 |agency=[[British Library]] |archive-date=31 July 2023 |archive-url=https://web.archive.org/web/20230731073817/https://www.bl.uk/romantics-and-victorians/videos/the-gothic-in-great-expectations |url-status=dead }}</ref> His most explicitly Gothic work is his last novel, ''[[The Mystery of Edwin Drood]],'' which he did not live to complete and was published unfinished upon his death in 1870.<ref>{{cite news |title=Edwin Drood: Charles Dickens's last mystery finally solved? |url=https://www.bbc.co.uk/news/uk-england-leeds-16483950 |access-date=25 July 2024 |publisher=BBC|quote=Dealing with the story of drug-addicted choirmaster John Jasper, The Mystery of Edwin Drood is a "dark and gothic" tale which is "very spooky, scary and modern"}}</ref> The mood and themes of the Gothic novel held a particular fascination for the Victorians, with their obsession with mourning rituals, [[Memento mori|mementos]], and mortality in general.

[[Irish Catholics]] also wrote Gothic fiction in the 19th century. Although some [[Anglo-Irish]] dominated and defined the subgenre decades later, they did not own it. Irish Catholic Gothic writers included [[Gerald Griffin]], [[James Clarence Mangan]], and [[John Banim|John]] and [[Michael Banim]]. [[William Carleton]] was a notable Gothic writer, and converted from Catholicism to Anglicanism.<ref>{{Cite book |title=The Emergence of Irish Gothic Fiction |last=Killeen |first=Jarlath |date=2014-01-31 |publisher=Edinburgh University Press |isbn=978-0-7486-9080-0 |pages=51 |doi=10.3366/edinburgh/9780748690800.001.0001 |s2cid=192770214 |url=http://www.oapen.org/download/?type=document&docid=649971}}</ref>

In Switzerland, [[Jeremias Gotthelf]] wrote ''[[The Black Spider]]'' (1842), an allegorical work that uses Gothic themes. The last work from the German writer [[Theodor Storm]], ''[[The Rider on the White Horse]]'' (1888), also uses Gothic motives and themes.<ref>Cusack, Barry, p. 26.</ref>

After Gogol, Russian literature saw the rise of Realism, but many authors continued to write stories within Gothic fiction territory. [[Ivan Sergeyevich Turgenev]], one of the most celebrated Realists, wrote ''Faust'' (1856), ''Phantoms'' (1864), ''Song of the Triumphant Love'' (1881), and ''Clara Milich'' (1883). Another classic Russian Realist, [[Fyodor Mikhailovich Dostoyevsky]], incorporated Gothic elements into many of his works, although none can be seen as purely Gothic.<ref>Cornwell (1999). pp. 211–256.</ref> [[Grigory Petrovich Danilevsky]], who wrote historical and early science fiction novels and stories, wrote ''Mertvec-ubiytsa'' (''Dead Murderer'') in 1879. Also, [[Grigori Machtet|Grigori Alexandrovich Machtet]] wrote "Zaklyatiy kazak", which may now also be considered Gothic.<ref name="Butuzov">Butuzov.</ref>

[[File:Dr Jekyll and Mr Hyde poster edit2.jpg|left|thumb|[[Robert Louis Stevenson]]'s ''[[Strange Case of Dr Jekyll and Mr Hyde]]'' (1886) was a classic Gothic work of the 1880s, seeing many stage adaptations.]]
The 1880s saw the revival of the Gothic as a powerful literary form allied to [[fin de siecle]], which fictionalized contemporary fears like ethical degeneration and questioned the social structures of the time. Classic works of this [[Urban Gothic]] include [[Robert Louis Stevenson]]'s ''[[Strange Case of Dr Jekyll and Mr Hyde|Strange Case of Dr. Jekyll and Mr. Hyde]]'' (1886), [[Oscar Wilde]]'s ''[[The Picture of Dorian Gray]]'' (1891), [[George du Maurier]]'s ''[[Trilby (novel)|Trilby]]'' (1894), [[Richard Marsh (author)|Richard Marsh]]'s ''[[The Beetle (novel)|The Beetle]]'' (1897), [[Henry James]]' ''[[The Turn of the Screw]]'' (1898), and the stories of [[Arthur Machen]].

In Ireland, Gothic fiction tended to be purveyed by the [[Anglo-Irish people|Anglo-Irish]] [[Protestant Ascendancy]]. According to literary critic [[Terry Eagleton]], [[Charles Maturin]], [[Sheridan Le Fanu]], and [[Bram Stoker]] form the core of the [[Irish Gothic literature|Irish Gothic subgenre]] with stories featuring castles set in a barren landscape and a cast of remote aristocrats dominating an [[atavism|atavistic]] peasantry, which represent an allegorical form the political plight of [[Irish Catholics|Catholic Ireland]] subjected to the Protestant Ascendancy.<ref>Eagleton, 1995.</ref> Le Fanu's use of the gloomy villain, forbidding mansion, and persecuted heroine in ''[[Uncle Silas]]'' (1864) shows direct influence from Walpole's ''Otranto'' and Radcliffe's ''Udolpho''. Le Fanu's short story collection ''[[In a Glass Darkly]]'' (1872) includes the superlative vampire tale ''[[Carmilla]]'', which provided fresh blood for that particular strand of the Gothic and influenced [[Bram Stoker]]'s [[vampire]] novel ''[[Dracula]]'' (1897). Stoker's book created the most famous Gothic villain ever, [[Count Dracula]], and established [[Transylvania in popular culture|Transylvania]] and [[Eastern Europe]] as the ''locus classicus'' of the Gothic.<ref>Mighall, 2003.</ref> Published in the same year as ''Dracula'', [[Florence Marryat]]'s ''[[The Blood of the Vampire]]'' is another piece of vampire fiction. ''The Blood of the Vampire'', which, like ''Carmilla,'' features a female vampire, is notable for its treatment of vampirism as both [[Race (human categorization)|racial]] and medicalized. The vampire, Harriet Brandt, is also a [[psychic vampire]], killing unintentionally.<ref>{{Cite book |last=Haefele-Thomas |first=Ardel |url=https://www.jstor.org/stable/j.ctt9qhdw4 |title=Queer Others in Victorian Gothic: Transgressing Monstrosity |date=2012 |publisher=University of Wales Press |jstor=j.ctt9qhdw4 |isbn=978-0-7083-2464-6 |edition=1st}}</ref>

In the United States, notable late 19th-century writers in the Gothic tradition were [[Ambrose Bierce]], [[Robert W. Chambers]], and [[Edith Wharton]]. Bierce's short stories were in the horrific and pessimistic tradition of Poe. Chambers indulged in the decadent style of Wilde and Machen, even including a character named Wilde in his ''[[The King in Yellow]]'' (1895).<ref>{{cite book |last1=Punter |first1=David |title=The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day |date=1980 |publisher=Longmans |location=United Kingdom |isbn=9780582489219 |pages=268–290 |chapter=Later American Gothic}}</ref> Wharton published some notable Gothic ghost stories. Some works of the Canadian writer [[Sir Gilbert Parker, 1st Baronet|Gilbert Parker]] also fall into the genre, including the stories in ''[[The Lane that Had No Turning, and Other Tales Concerning the People of Pontiac|The Lane that had No Turning]]'' (1900).<ref>{{Cite book |title="Introduction" to The Lane that Had No Turning, and Other Tales Concerning the People of Pontiac |last=Rubio |first=Jen |publisher=Rock's Mills Press |year=2015 |isbn=978-0-9881293-7-5 |location=Oakville, ON |pages=vii – viii}}</ref>

[[File:Horla-Apparition.png|thumb|upright|''[[The Horla|Le Horla]]'' (1887) by [[Guy de Maupassant]] ]]
The serialized novel ''[[The Phantom of the Opera (novel)|The Phantom of the Opera]]'' (1909–1910) by the French writer [[Gaston Leroux]] is another well-known example of Gothic fiction from the early 20th century, when many German authors were writing works influenced by ''Schauerroman'', including [[Hanns Heinz Ewers]].<ref>Cusack, Barry, p. 23.</ref>

====Russian Gothic====
Until the 1990s, Russian Gothic critics did not view Russian Gothic as a genre or label. If used, the word "gothic" was used to describe (mostly early) works of [[Fyodor Dostoyevsky]] from the 1880s. Most critics used tags such as "Romanticism" and "[[fantastique]]", such as in the 1984 story collection translated into English as ''Russian 19th-Century Gothic Tales'' but originally titled ''Фантастический мир русской романтической повести'', literally, "The Fantastic World of Russian Romanticism Short Story/Novella."<ref>Cornwell (1999). Introduction.</ref> However, since the mid-1980s, Russian gothic fiction as a genre began to be discussed in books such as ''The Gothic-Fantastic in Nineteenth-Century Russian Literature'', ''European Gothic: A Spirited Exchange 1760–1960'', ''The Russian Gothic Novel and its British Antecedents'' and ''Goticheskiy roman v Rossii (The Gothic Novel in Russia)''.

The first Russian author whose work has been described as gothic fiction is considered to be [[Nikolay Karamzin|Nikolay Mikhailovich Karamzin]]. While many of his works feature gothic elements, the first to belong purely under the gothic fiction label is ''Ostrov Borngolm'' (''Island of Bornholm'') from 1793.<ref>Cornwell (1999). Derek Offord: ''Karamzin's Gothic Tale'', pp. 37–58.</ref> Nearly ten years later, [[Nikolay Gnedich|Nikolay Ivanovich Gnedich]] followed suit with his 1803 novel ''Don Corrado de Gerrera'', set in Spain during the reign of [[Philip II of Spain|Philip II]].<ref>Cornwell (1999). Alessandra Tosi: "At the origins of the Russian gothic novel", pp. 59–82.</ref> The term "Gothic" is sometimes also used to describe the [[ballad]]s of Russian authors such as [[Vasily Andreyevich Zhukovsky]], particularly "Ludmila" (1808) and "[[Svetlana (ballad)|Svetlana]]" (1813), both translations based on [[Gottfried August Bürger|Gottfreid August Burger]]'s Gothic German ballad, "[[Lenore (ballad)|Lenore]]".<ref>Cornwell (1999). Michael Pursglove: "Does Russian gothic verse exist?" pp. 83–102.</ref>

During the last years of [[Russian Empire|Imperial Russia]] in the early 20th century, many authors continued to write in the Gothic fiction genre. They include the historian and historical fiction writer [[Alexander Amfiteatrov|Alexander Valentinovich Amfiteatrov]] and [[Leonid Andreyev|Leonid Nikolaievich Andreyev]], who developed psychological characterization; the symbolist [[Valery Yakovlevich Bryusov]], [[Alexander Grin]], [[Anton Pavlovich Chekhov]];<ref>Cornwell (1999). p. 257.</ref> and [[Aleksandr Ivanovich Kuprin]].<ref name="Butuzov"/> Nobel Prize winner [[Ivan Alekseyevich Bunin]] wrote ''[[Dry Valley (novel)|Dry Valley]]'' (1912), which is seen as influenced by Gothic literature.<ref>Peterson, p. 36.</ref> In a monograph on the subject, Muireann Maguire writes, "The centrality of the Gothic-fantastic to Russian fiction is almost impossible to exaggerate, and certainly exceptional in the context of world literature."<ref>Muireann Maguire, ''Stalin's Ghosts: Gothic Themes in Early Soviet Literature'' (Peter Lang Publishing, 2012; {{ISBN|3-0343-0787-X}}), p. 14.</ref>