The queer Gothic is predicated upon something more pervasive and, at times, more elusive than sexual identity. It is more, even, than the campness with which Gothic is so frequently associated in criticism. This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. Building upon critical trend of desire between men, the book examines Frankenstein's engagement with sexual rhetoric in the early nineteenth century. It explores some ways in which the signifying practices of queerness are written into the language and, therefore, the signifying practices of Gothic fiction. It also explores how women writers have used werewolves and vampires in order to explore 'transgressive' sexualities such as lesbianism. The book considers how Michael Jackson's use of the Gothic in Thriller and Ghosts queers the temporality of childhood.