Gothic and the Generation of Ideas 1

Gothic writing has remarkable generative power: as Marshall Brown has described it, gothic is a genre with what he calls a teleology, whose “significance lies in what it enabled its future readers to see, in what arguments it provoked, and . . . in what dreams it stimulated” (xix). From a brief discussion of selected early studies of the gothic, this article moves on to consider the extraordinary development of gothic criticism from the 1970s on, when the emergence of feminist and post‐structuralist criticism put gothic literature on the map in a new way. Tracing the development and imbrication of the many strands of gothic criticism yields a complex and at times paradoxical picture: gothic has been read as the most rigid and formulaic of literary forms but also as centrally engaged with the notably slippery concepts of sensibility and the sublime; as escapist and as grounded in the realities of human existence; as focused on the individual psyche and as socio‐cultural critique; as commenting on class, on gender, on race; as engaged with questions of national, colonial, and post‐colonial identity. The field is now so well developed that guidebooks and handbooks to both primary sources and critical approaches have emerged over the last few years to codify and make it accessible. And so the question arises: have we said all that we can about this genre or can we learn still more from it? The closing portion of this article suggests that we can, pointing to gothic and religion as an area of particular interest. Religious issues have been front and center in gothic writing from its inception, and criticism to date has opened up – but hardly exhausted – this potentially rich area of research.