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Shelley Saguaro

As the writer of often whimsical ‘story-books’, of Romances set in ‘a neutral territory, somewhere between the real world and faery-land’ (Hawthorne 1981 : 66), Nathaniel Hawthorne also focused on ‘all the ghastliness which the Gothic mind loves to associate with the idea of death’ ( 1961 : 26). Writing in mid-nineteenth-century America, Hawthorne chose various locations at home and abroad for his richly ambiguous tales and novels. The focus here is on three of Hawthorne's well-known ‘Gothic’ texts. The short story ‘Rappaccini's Daughter

in EcoGothic gardens in the long nineteenth century
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Hawthorne, Ligotti, and the Absent Center of the Nation-State
Donald L. Anderson

Although composed before 9/11, Nathaniel Hawthorne‘s My Kinsman, Major Molineux and Thomas Ligotti‘s The Shadow at the Bottom of the World are both prescient in their critique of the impulse of American communities following 9/11 to monumentalise and concretise the nation-state and in particular the remains at Ground Zero. In this essay I discuss Ground Zero as a suggestive trope for the illusiveness of the nation as an imagined community. These complementary Gothic short stories operate as allegory and offer a way of reading how patriotic communities cohered around what remained at Ground Zero and (re)produced it as a site of patriotic performance. A new Gothic trait in our age of terror(ism) is the anxiety over the absence of a stable centre that anchors national continuity. This article places these short stories in conversation with Benedict Anderson,,Étienne Balibar and other theorists who engage critiques of nation-building in order to draw out what is Gothic about the nation-state and to further substantiate how 9/11 revealed the nation-state as a principally Gothic phenomenon.

Gothic Studies
Benjamin Fisher

Elsewhere, but always subsumed within more general issues, I have argued for paying more attention to the Gothicism in the writings of James Kirke Paulding, whose literary career spanned the first half of the nineteenth century. He is one of those American writers who, like murder, will out, despite more neglect than his accomplishments deserve. By 1830 - to cite but one example of Paulding‘s significance - when Hawthorne and Poe were still apprentices in the craft of short fiction, a span of years had passed during which Paulding‘s productions in this genre clearly justified such labels as ‘the Paulding decade of the short story’ (Amos L. Herold‘s designation). Harold E. Hall, moreover, ranks ‘Cobus Yerks and ‘The Dumb Girl’, two Paulding tales from this period, among the finest early nineteenth-century American short stories. Although personal and career necessities often drew him away from literary pursuits, Paulding should by no means be ignored; his name keeps surfacing, particularly when the topic is literary nationalism, as Benjamin T. Spencer, John Seelye, Michael John McDonough, and I have already indicated. Paulding is also remembered as a pioneer in presenting frontier life in fiction and for his early essays in what we now term Southwestern Humor.1

Gothic Studies
Open Access (free)
Jeffrey Flynn

subject of anxious deliberation, especially among American evangelicals actively engaged in relief efforts both at home and abroad’ (24). Secular publications raised such questions too – for example, in the series of reports on the Indian famine that appeared throughout 1897 in the illustrated monthly Cosmopolitan , in which the author Julian Hawthorne, hired for a 3-month expedition ‘to ‘seriously investigate… rumors of famine and plague’ in the British

Journal of Humanitarian Affairs
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Author: David Brauner

This is a study of the contemporary American novelist, Philip Roth. Reading alongside a number of his contemporaries and focusing particularly on his later fiction, it offers a view of Roth as an intellectually adventurous and stylistically brilliant writer who constantly reinvents himself in surprising ways. At the heart of this book are a number of readings of Roth's works both in terms of their relationships with each other and with fiction by Nathaniel Hawthorne, Thomas Pynchon, Tim O'Brien, Bret Easton Ellis, Stanley Elkin, Howard Jacobson and Jonathan Safran Foer. The book identifies as a thread running through all of Roth's work the use of paradox, both as a rhetorical device and as an organising intellectual and ideological principle.

Jessie Morgan-Owens

2 Photographic studies in the Hawthornes’ American Note-books Jessie Morgan-Owens These Note-Books, by the way – this seems as good a place as any other to say it – are a very singular series of volumes; I doubt whether there is anything exactly corresponding to them in the whole body of literature. Henry James, Hawthorne (1879) In 1866 and 1867 the recently widowed Sophia Peabody Hawthorne corresponded with editor James T. Fields and his wife Annie over the posthumous publication of excerpts from Nathaniel Hawthorne’s note-books in The Atlantic Monthly and in

in Mixed messages
The ecoGothic sensibilities of Mary Shelley and Nathaniel Hawthorne
Jennifer Schell

. Not coincidentally, Nathaniel Hawthorne also used ecoGothic imagery to chronicle the extinction of the human race. In the story ‘The Ambitious Guest’ (1835), the narrator describes a catastrophic landslide that kills a rural, mountain family as ‘a cataract of ruin’, which ‘overwhelmed the whole vicinity, blocked up the road, and annihilated everything in its dreadful course

in The Gothic and death
Stephen Cheeke

about the portrait suggested a larger mystery that had suddenly become visible – visible, that is to say, in its mystery. In this respect the Cenci portrait seemed to haunt the observer as if it were a portrait from nineteenth-century Gothic fiction. Beatrice’s face would play a role in novels that drew upon the conventions of that genre, most famously in Melville’s Pierre or The Ambiguities (1852), and in Hawthorne’s The Marble Faun (1860). Her portrait suggested the interrupted, suspended moment in which a secret emerges into the light. In Stendhal’s words, she had

in Ekphrastic encounters
Tom Gunning

American writers around the Civil War – Feidelson lists Nathaniel Hawthorne, Herman Melville, Edgar Poe, and Walt Whitman, and I would add Emily Dickinson – lift the metaphors and symbolism of the Romantic movement into a precociously modern zone of ambivalence. 13 Goethe and the German Romantics – Moritz, the Schlegel brothers, and Schelling – separated symbol from allegory. In allegory an image represents a specific meaning; in contrast, the meaning of a symbol remains evocative and multiple. Tzvetan Todorov summarises: ‘The meaning of the allegory is finite, that of

in Surrealism and film after 1945
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The House by the Church yard
W. J. McCormack

costume novels of Harrison Ainsworth, and also to the (anti-)puritan fiction of Nathaniel Hawthorne. Its tapestry-like chapters contain vignettes of mundane life, the passage of ordinary time, even as they accumulate to form an apocalyptic expose of a dynasty. If Sturke and Archer and Danger-field are the names of the latter-day actors in the drama, then the initials and figures on the

in Dissolute characters