Kirstie Harrison Dunne

Affiliation: University of Sheffield

Research Areas:
Period: Early Modern Gothic, 18th Century Gothic, 19th Century Gothic, 20th Century Gothic, 21st Century Gothic
Gender: Female Gothic, Gothic Masculinity, Queer Gothic, Trans Gothic, Gothic Gender
Interdisciplinary Approaches: Eco-Gothic, Folklore and Myth, Technology, Medicine and Science, Spirituality and Religion
Genres and Media: Fiction, Film and TV, Poetry, Theatre and Performance, Tourism and Travel
Regions and Cultures: Postcolonial Gothic, Black Gothic, European Gothic, Irish Gothic, Scottish Gothic, Welsh Gothic
Creatures: Ghosts, Monsters, Vampires, Zombies

Kirstie Harrison Dunne is an English Literature MA student at the University of Sheffield.

Email: kirstie.hd@btinternet.com

My First Encounter With The Gothic

Michael Weldon Lewis discusses the influence of American television and goth music on his aesthetic tastes.

My first encounter with “the Gothic” was probably when I watched The Addams Family and The Munsters on television in the early 1960s. I enjoyed their macabre lifestyle, especially how they portrayed it as so “normal”. The way other characters acted and reacted to contact with members of either family was entertaining each time for me.

Later in the 1960s, Dark Shadows was airing on television. At school, I was listening to other school children who were talking about a vampire, a werewolf, a witch, and a ghost child as characters in a television show. I was reading about vampires, werewolves, witches, and ghosts. I was looking for the show on the ABC network. It was airing after a soap opera, The Secret Storm. I was watching the show in 1966 or 1967.

During that time, I saw the Star Trek episode ‘Cat’s Paw’. There were witches, spooky castles, a dungeon, skeletons, magic, and a black cat. However gothic that episode was, I became more of a fan of science fiction the more I watched other episodes of the show.

The Sixth Sense and Night Gallery television shows brought me back to gothic storylines that involved ghosts and all manner of horrors, both surreal and imaginary. However, an episode of The Snoop Sisters that featured Alice Cooper brought me into the world of shock rock.

An Alice Cooper concert (Richmond, Virginia) took me further into the world of shock rock. Punk rock left me uninspired. However, the gothic music and lifestyle that came to America spoke to me in remarkably familiar terms. Those terms were vampires, werewolves, witches, and ghosts. Local and national horror movie hosts (I watched The Bowman Body, Dr. Madblood, Count Gore del Vol and Elvira) played old films that showed me many of these same supernatural creatures played by actors. Barbara Steele was an actor who played characters in some older horror films. She played a character in a revival of the original Dark Shadows television series. Those films showed characters like Dracula, Frankenstein, witches, and werewolves. Authors drafted stories about such characters, and the characters showed up in movies.

The Dunwich Horror movie introduced me to H. P. Lovecraft. This author’s stories represented a different kind of invasion. This alien invasion of Earth came without spaceships in modern times. These aliens came long ago and appeared after a long time from somewhere under the sea or in a mountain. The idea of an alien that appeared so unlike anything people had seen before was not new in fiction. However, their appearance caused the loss of sanity in people who looked at them in some cases. These creatures were the stuff that nightmares were made of.

Compilations of songs on Cleopatra Records gave me an idea of what goth music was. Local bands Valentine Wolfe and Bella Morte gave me an idea of what goth music was in their performances at a local Edgar Allan Poe-inspired convention called RavenCon.

As a student of electronic music, I listen to music with the intent of performing it someday. I believe listening to gothic music is the main thing of a gothic lifestyle. I hope the performance of gothic music turns me into an electronic musician.

Mary Phelan

Research Areas:
Period: 18th Century Gothic, 19th Century Gothic, 20th Century Gothic, 21st Century Gothic
Gender: Female Gothic, Gothic Masculinity
Interdisciplinary Approaches: Technology, Medicine and Science
Genres and Media: Arts, Fiction, Film and TV, Tourism and Travel
Regions and Cultures: European Gothic
Creatures: Aliens, Ghosts, Monsters, Vampires, Zombies

Mary Phelan has a BA in art history (University College London, 2001) and an MA in English literature (Open University). Her book, Wicked Uncles and Haunted Cellars: What the Gothic Heroine Tells Us Today, is published by Greenwich Exchange.

Email: hardworkingeditor@hotmail.com
Website: http://maryphelan.blogspot.com

Alex

Research Areas:
Period: Early Modern Gothic, 18th Century Gothic, 19th Century Gothic, 20th Century Gothic, 21st Century Gothic
Gender: Female Gothic, Gothic Masculinity, Queer Gothic, Trans Gothic, Gothic Gender
Interdisciplinary Approaches: Eco-Gothic, Folklore and Myth, Technology, Medicine and Science, Gothic Music, Gothic Fashion, Spirituality and Religion
Genres and Media: Animation, Arts, Fiction, Film and TV, Children and YA, Games, Comics and Graphic Novels, Poetry, Theatre and Performance, Tourism and Travel, Virtual Gothic
Regions and Cultures: Postcolonial Gothic, African Gothic, American Gothic, Antipodean Gothic, Arctic Gothic, Asian Gothic, Black Gothic, Canadian Gothic, Caribbean Gothic, Creole Gothic, European Gothic, Irish Gothic, Latin American Gothic, Middle-Eastern Gothic, Nordic Gothic, Scottish Gothic, Southern American Gothic, Tropical Gothic, Welsh Gothic
Creatures: Aliens, Animals, Ghosts, Monsters, Vampires, Zombies

Email: alexgiron4512@gmail.com

Encountering Rez Gothic

My First Encounter With the Gothic, by Kaylee Lamb

Growing up on a small reservation in the States, it was almost impossible to pinpoint when I first encountered the Gothic. Don’t get me wrong, I certainly encountered it at my university, where I took an independent ‘Gothic Literature’ course; however, upon reading works like The Monk, The Castle of Otranto, and A Sicilian Romance, I realized that perhaps I had been far more familiar with that eerie and anxiety-inducing affect than I had initially thought.

Spending all of my childhood and teenage years on a rez (Indian reservation) that stretches 4,267 mi² (11,051 km²), I always had a childlike curiosity about what lay in wait on the dark plains, and sometimes my own imagination ran amok with what could be watching and waiting.

On the rez, one becomes accustomed to marking out distances for survival but also for potential help; for example, being bitten by a poisonous rattlesnake when the nearest hospital is 40 miles (64 km) away and the closest thing to cell service reception is 20 miles (32 km).

The rules and regulations of the land bend for no one, and while having a landline can certainly aid the hospital in preparing the serum, your quickest way to get there is not by ambulance but through your own rez-beater (a rusty car, often found on the rez, with many dents and an unmentionable amount of rust and dirt, as well as missing numerous key elements like a license plate and tags). One just has to make sure your trusty rez-beater can hightail it on the dirt roads without running into a deer, hitchhiker, cow, or something else.

But driving on the rez isn’t just about practicality—it is also about navigating the land’s unseen forces. There’s an unspoken awareness that the land holds memories, and that not every presence you encounter is entirely human. The isolation of the rez stretches beyond physical distances; it carries an eerie quietness, a sense that something lingers just beyond your headlights.  Given that the reservation is so vast and isolated, driving becomes second nature wherein an 80-mile (128km) drive can seem like nothing to most. Herein, lies my perception of where I can first remember encountering something akin to the Gothic.

On a long night drive home from town, my aunt shared with me and my sister the complications of driving alone and to never stop for a hitchhiker we did not know. On the rez, everyone knows everyone. It is unlikely you’ll encounter someone you are not related to or someone your family does not know, thus encountering a stranger is often unheard of. She warned us early to not pick up hitchhikers, but she also inspired a sense of awe in us when she revealed that we as young women should expect to be protected by the spirit of Deer Woman.

Deer Woman’s origins are often drawn to the Great Plains of North America, but her story stretches farther than most realize and can be found in various forms of Indigenous storytelling. My aunt then recounted that a young man, a bad one at that, once drove the same road as we were driving when he spotted an old woman walking on the shoulder at night. He pulled over and questioned if she needed a lift, to which she gave no response other than simply opening the car door and stepping in.

The man continued his drive, attempting to conversate with her, but she gave no responses. He tried to look at her features but a shroud was covering her head and much of her face. Continually peeking at her, he then noticed to his horror that where her feet should have been were in fact deer hooves. Jerking his eyes back to the road, he barely had time to stop the car when a herd of deer crossed over the road. The animals began running down the barbed wire fence line, and when he turned to look at the old woman—she was gone. He was all more horrified when the end of the herd came by and the woman’s face was on one of the deer’s, her eyes looking straight into his.

Make no mistake, Deer Woman is no monster. It is here where I see a separation between the Gothic and what could be horror. Instead, Deer Woman is an entity of protection and restorative justice, specifically for women and children.

“So, what happened to the man?” I remember questioning my aunt.

She laughed and said that the man who had often targeted young women traveling alone never did again after his encounter with Deer Woman.

Stories vary when it comes to people’s individual encounters with her, with some being bloodier than the next, as can be seen in the Hulu series Reservation Dogs. However, it can be said that even on the isolated, dark frontier of the Great Plains, one is far from ever truly alone.

Death Loved Me First: a micro play

My First Encounter With the Gothic, by West Ambrose

A meadow, sunset.

YOU

(Reading aloud from a journal)

‘Slowly, slowly we find what haunts us. That is the way of the world…’

 

Enter DEATH, disguised as a beggar. He stands close to YOU, but their shadows don’t meet.

 

DEATH

For you?

 

YOU

For those who grow into it. They become as a small, white aster, unfurling to rot.

 

DEATH

Death finds them through wild words, fictitious conventions brimming with ghosts.

 

YOU

That’s the Gothic.

 

DEATH

The Brontës, The Shelleys, Stoker and Wilde.

 

YOU

Their fantasies or biographies?

 

DEATH
Their readers or lack-thereof?

 

YOU

Perhaps, stories are agreements between both. I was found. Once, long ago… In the place between sleep and light.

 

DEATH

Who found you?

 

YOU

A dark shadow that loomed over my whole life. A man in the shape of a scythe, the beam of a weird, gaunt moon descending upon my soft curls. He was taller than myself, a man before I was even born. He was centuries old, older than the century itself. He laid at the side of every speared doe and drank its blood. When he came over me, I knew I would not make it out alive. Still, I looked at him, in the spirits of winking candles, the dancing flames of the wind, the filaments burning through the gloam-hushed cosmos of nature; the passion of each sweeping rainstorm, foxgloves and belladonna, red-eyed wolves and razor-toothed whales, the smoke of tumultuous waves, crashing upwards, over and over… As he trembled.

 

DEATH

Don’t you mean you looked for him?

 

YOU

No. At him. I tilted my head back that night to receive a kiss from the most loving, universal father I ever could.

 

DEATH

You weren’t afraid?

 

YOU
He made me. I unmade him. There’s a difference— He trembled. As he stood over my cradle that night, he shook juniper pins from their boughs and the foam from each ebb. Every dark fairy has a blessing to bestow—

 

DEATH
Don’t you mean a curse? Don’t you blame him?

YOU
For cradling me as I lay dying? I was a child. I saw my death in all because it had already come. These years were a gift to me, a waking afterlife where I was no longer alone with false guides through infernal circles. Mothers and fathers may have rushed to that primordial cradle, sisters and brothers trying to affix any orientation to my untameable soul, but they failed. They weren’t first. (pause) Still, I am haunted by one thing.

 

DEATH

What is that?

 

YOU
Why he trembled. I was only a child then.

 

DEATH takes off his silly disguise. His shadow now makes a perfect crescent moon over the boy. In the deepening sunset, their shadows merge, heart-like.

 

DEATH

Because you were my whole world then. And you haunted me b-because you existed. You were sick and I was helpless to stop it. So I kept you as my own boy. I could not love you any less. I  never could.

 

They kiss, and drift out into the evening as a pair of ghosts. FIN.

Gero Guttzeit

Affiliation: Ludwig-Maximilians-Universität München

Research Areas:
Period: Early Modern Gothic, 18th Century Gothic, 19th Century Gothic, 20th Century Gothic, 21st Century Gothic
Gender: Female Gothic, Gothic Masculinity
Interdisciplinary Approaches: Folklore and Myth, Technology, Medicine and Science
Genres and Media: Fiction, Film and TV, Games, Poetry, Theatre and Performance
Regions and Cultures: Postcolonial Gothic, American Gothic, Black Gothic, Canadian Gothic, European Gothic, Scottish Gothic, Southern American Gothic
Creatures: Animals, Ghosts, Monsters, Vampires, Zombies

I teach English Literature at Ludwig-Maximilians-Universität in Munich. My work is situated at the intersection of Modern British and American literary studies and guided by interests in authorship, monstrosity, and the Gothic, particularly Southern American and Scottish Gothic.

Email: gero.guttzeit@lmu.de
Website: https://geroguttzeit.de

Ben Lomas

Affiliation: University of Sheffield

Research Areas:
Period: 20th Century Gothic, 21st Century Gothic
Gender: Gothic Masculinity, Queer Gothic
Interdisciplinary Approaches: Eco-Gothic, Technology, Medicine and Science
Genres and Media: Animation, Arts, Film and TV, Games, Comics and Graphic Novels, Virtual Gothic
Creatures: Aliens, Animals, Monsters, Vampires, Zombies

Ben Lomas’ research focuses on representations of human edibility in Gothic literature and horror cinema.

Email: blomas2@sheffield.ac.uk

Mace Bielderman

Affiliation: Utrecht University

Research Areas:
Period: 20th Century Gothic, 21st Century Gothic
Gender: Queer Gothic, Trans Gothic
Genres and Media: Fiction, Virtual Gothic
Creatures: Ghosts

RMA Comparative Literary Studies at Utrecht University. Interested in queerness and contemporary cybergothic fiction.

Email: macebielderman@gmail.com

Claire Cunningham

Affiliation: Lancaster University

Research Areas:
Period: 18th Century Gothic, 19th Century Gothic, 20th Century Gothic, 21st Century Gothic
Gender: Female Gothic, Queer Gothic
Interdisciplinary Approaches: Eco-Gothic, Folklore and Myth, Spirituality and Religion
Genres and Media: Arts, Fiction, Comics and Graphic Novels, Poetry
Regions and Cultures: Postcolonial Gothic, Irish Gothic
Creatures: Ghosts

Claire Cunningham is doing a PhD in creative writing at Lancaster University.

Email: c.reilly3@lancaster.ac.uk