Death, art, and bodies
Queering the queer Gothic in Will Self ’s Dorian
in Queering the Gothic
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter explores Will Self's novel Dorian, an updated version of Oscar Wilde's The Picture of Dorian Gray set in the 1980s and 1990s. It revolves around a gay culture which has been affected by acquired immune deficiency syndrome (AIDS). The focus is on Self's novel rather than on how it rewrites Wilde's Dorian Gray, because the emphasis of the enquiry is on the late twentieth century. Self's version of queer Gothic asserts the presence of an identity politics which, in its insistence on a grand debate about life and death, tends to obscure the politics of the queer Gothic. The central anxiety in Dorian concerns a fear of death in a secular culture. Henry Wotton is amongst those who become infected by human immunodeficiency virus (HIV), whereas Dorian appears to be immune to disease because his 'body' has been effectively transformed into Baz Hallwood's art installation, Cathode Narcissus.

Metrics

All Time Past Year Past 30 Days
Abstract Views 210 77 4
Full Text Views 53 13 3
PDF Downloads 12 6 1