Urban hieroglyphics, patternings and tattoos in Edgar Allan Poe’s ‘The
tell-tale heart’ and Herman Melville’s Moby-Dick; Or, the
), Bleak house  (London: Penguin).
Dowling, David (2010), Chasing the white whale: The Moby-Dick marathon; Or, what Melville means today (Iowa: University of Iowa Press).
Engel, William E. (2012), Early modern poetics in Melville and Poe: Memory, melancholy, and the emblematic tradition (Farnham: Ashgate).
Fisher, Benjamin F. (2002), ‘Poe and the gothictradition’, in K. J. Hayes (ed.), The Cambridge companion to Edgar Allan Poe (Cambridge: Cambridge University
that lasted the ages,
Then ripped apart at their roots. 55
One of the signature routines of the Ledger/Nolan Joker is his challenge to his victims and enemies to explain the origins of his own horrific behaviour. He asks three separate characters: ‘Do you want to know how I got these scars?’ In each case, he gives a different answer, recalling the comic book precedent of The Killing Joke , where the Joker quips of the trauma that supposedly created his evil persona: ‘If I’m going to have a past, I prefer it to be multiple choice.’ 56 The Gothictraditions
Father– daughter incest and the economics of exchange
novel – and many that follow – as part of a Gothictradition distinct from that represented by Walpole’s parodic and
satirical work. The contrast between the depictions of incest, sexuality
and female agency in The Romance of the Forest and Otranto
are marked in that Radcliffe’s representations of
father–daughter incest allow the heroine access to desire, voice
particular type of attack on the patriarchy. While the genre functions
as a space in which writers articulated these views it does so as part
of the wider Gothic genre rather than from within a Female Gothictradition that questions patriarchy by presenting incest as a sexualised
abuse of the power imbalance inherent in the familial and social
structures. When Fred Botting and Dale Townshend state that
before the heroine discovers his secret, the magic
wears off quickly as she finds she has been made an exile through
marriage. Carter’s story, however, is not content with
disillusioning the romance of marriage by exposing its darker side and
turning a critical feminist eye on the patriarchal cruelties
underpinning the Gothictradition. That this tradition involves the
exchange, expropriation, exile and
102 Burns, No Bones, 292.
103 Burns, No Bones, 285.
104 Burns, No Bones, 293.
105 Burns, No Bones, 294.
106 Burns, No Bones, 299.
Gothic inheritance and the Troubles
Burns, No Bones, 315.
Burns, No Bones, 252.
Burns, No Bones, 258.
Jim Hansen, Terror and Irish Modernism: The GothicTradition from
Burke to Beckett (Albany, NY: State University of New York Press,
2009), p. 7.
111 Malachi O’Doherty, ‘Don’t talk about the Troubles.’ Fortnight 457
112 O’Doherty, ‘Don’t talk about the
, 1990a, 23)
This allusion to Mary Shelley’s own birth, which caused the death
of her mother Mary Wollstonecraft, helps develop the Frankenstein
parallels and Frank, like Shelley’s monster, is the result of an experiment
to create an artificial man.10 Sage’s incorporation of Banks’s book into
the gothictradition, however, does not address the important ways
in which the novel invokes the gothic only to distance itself from
it. Whereas Shelley’s monster resembles Rousseau’s natural man
and is a Romantic being capable of sensitive feelings and virtuous
incest allow texts to be considered masculine or ‘real’
Gothic, while incest that is averted, non-violent or implied is
considered part of the Female Gothictradition. Such a view is apparent
in James Watt’s argument that Lewis’s deployment of
sexuality ‘amplified the suggestion of impropriety that was only
implicit in the work of a writer such as Ann Radcliffe’. 33 Similarly, Vartan P.
degree to which the self is fashioned within an aesthetic of absence
identifies the elegy as the starting point for the Gothictradition
– it is one in which ideas about ‘knowing’ also
indicate how closely death, writing and emotion form a complex trinity
in an epistemology of the self.
In Edward Young’s Night
Thoughts (1742–45), feelings about death are supplanted
Constructing death constructing death in the 1790s–1820s
’s Night Thoughts .
It might appear to elaborate a non-Gothic model of the subject, but the
repeated links between creativity, memory and order should be read as
counterpoints to an emerging Gothictradition in the period – one
that questioned the notions of authenticity under which such a model of
the subject is organised. As we saw in the previous
chapter on the elegy, for Peter M. Sacks Art