The International Gothic Association (IGA) is delighted to invite applications for the role of Secretary to The Allan Lloyd Smith and Justin D. Edwards Memorial Book Prizes. This position provides a unique opportunity for a postgraduate or early-career researcher with a strong interest in Gothic studies to contribute meaningfully to the recognition and celebration of scholarly excellence in our field.

Role Overview

The secretary will assist with the coordination and delivery of the IGA’s Memorial Book Prizes, which are awarded to outstanding publications in Gothic scholarship at the International Gothic Association’s flagship biannual conference. The secretary will administer the nomination, review, and award processes and provide essential support to the Chair of the Prizes, Dr Sara-Patricia Wasson.

Key Responsibilities

The Secretary will:

• Support the biennial prize cycle, including calls for nominations, processing nominations, and communicating with publishers and nominators to ensure that panelists obtain copies of the nominated works. Additional details are below.
• Support the Chair in developing and testing the nomination form and process (January 2026)
• Process nominations, checking eligibility (e.g. time span of publication and membership status of nominators), emailing confirmations, and assembling and checking a report (Jan-Feb 2026).
• Liaise with publishers and panel members to obtain copies of the works for all panellists, and follow up with publishers pro-actively where books have not yet been received. This work is intensive during March and April, with spikes of activity continuing during May.
• Maintain accurate records and timelines for all prize-related activities.
• Support the Chair’s announcements, publicity, and dissemination of prize results via IGA channels.
• Contribute to the development and refinement of prize procedures and documentation.
• Approximately 5 hours a week average for the five months Jan to May, although those hours will be especially concentrated in mid Jan-mid Feb, and April.

Person Specification

• Postgraduate student or early-career researcher in Gothic studies or a related field (e.g. literature, cultural studies, film, art history).
• A track record of excellent organisational and communication skills.
• Familiarity with Google Sheets and Microsoft Forms.
• Ability to work independently and manage multiple tasks with attention to detail.
• Familiarity with academic publishing and scholarly networks in Gothic studies.
• Commitment to promoting inclusivity and excellence in the field.
• Availability during the February- May time span for more intensive stages in the administrative activity, with particular peaks in February, March and April.

Benefits

• Opportunity to gain professional experience in academic administration.
• Enhanced visibility and networking within the international Gothic studies community.
• Contribution to the recognition of scholarly achievement in a vibrant and evolving field.

If you are interested in applying, please send a copy of your CV and a short statement of support to Sara Wasson at S.Wasson@lancaster.ac.uk, CC-ing the International Gothic Association (members@globalgoth.org), by 17 December 2025.

I must have been around ten years old when I had my first encounter with what was to become a lifelong passion: the Gothic.

I don’t remember much else of that day other than that it was a cold, dark evening and I was home alone. My parents were working late shifts back then and babysitting was not common for kids of my age in my country of origin. On that fateful evening, a new show was about to premiere on national television, and for some reason, I instantly knew it was going to be a special one. Cuddled up under my warm blanket, lights out, and eyes glued to the flickering screen, I entered a world of sublime mystery.

A misty forest of Douglas fir trees unfolded on the screen, the unforgettable sound of Angelo Badalamenti poured out of the loudspeakers, and the most comforting feeling of awe expanded throughout my entire body: “Fire walk with me!” David Lynch’s Twin Peaks thus set the ground for my everlasting love for the Gothic.

As I grew older, I discovered Gothic poetry and fiction. I remember I used to sit for hours in the public library and devour any poem or short story ever written by Edgar Allan Poe. Emily Brontë’s Wuthering Heights or Charlotte Brontë’s Jane Eyre became favorites I would get lost in on long summer afternoons. As a teenager, I started writing my own Gothic poetry, at first out of a feeling of personal necessity, then later more intently, as lyrics for rock bands from my hometown. Gothic metal from Paradise Lost or Moonspell became a favorite music genre and my wardrobe slowly turned grey and black.

My years at university opened up new horizons for Gothic literature and cinema. I moved to Germany and majored in British and American Studies. We read Hawthorne, Perkins Gillman, Faulkner and Morrison. The Gothic slowly revealed itself not only as an aesthetic, but also as a platform for exploring social and cultural anxieties. As I finished my PhD and started teaching at university, I knew that the Gothic would have to feature heavily on my course curriculum: US-American Gothic, Southern Gothic, Gothic Cinema, Arctic Gothic. I delve into various aspects of this fascinating mode whenever I get the chance.

Lately, my journey through the Gothic landscape has come full circle, as I explore more and more the intricacies of Gothic film: season one of True Detective, season one of The Terror, or Crimson Peak. And this year has been particularly rewarding, with two exquisite films from my favorite directors: Robert Eggers’ Nosferatu and Guillermo del Toro’s Frankenstein.

A lot has changed in my life since that fateful evening over three decades ago, but one constancy remains. Whenever I cuddle up under the blanket on my couch, lights out, and press play, that same comforting feeling takes over. Because to me, the Gothic has become much more than a hobby. To me, the Gothic feels like home.