Nordic Gothic traces Gothic fiction in the Nordic region from its beginnings in the nineteenth century with a main focus on the development of Gothic from the 1990s onwards in literature, film, TV series and new media. The volume gives an overview of Nordic Gothic fiction in relation to transnational developments and provides a number of case studies and in-depth analyses of individual narratives. The book creates an understanding of a ubiquitous but hitherto under-researched cultural phenomenon by showing how the Gothic narratives make visible cultural anxieties haunting the Nordic countries and their welfare systems, and how central these anxieties are for the understanding of identities and ideologies in the Nordic region. It examines how figures from Nordic folklore and mythology function as metaphorical expressions of Gothic themes, and also how universal Gothic figures such as vampires and witches are used in the Nordic context. The Nordic settings, and especially the Nordic wilderness, are explored from perspectives such as ecocriticism and postcolonialism and subcategories such as Gothic crime, Gothic humour, troll Gothic and geriatric Gothic are defined and discussed. Furthermore, the phenomenon of transcultural adaptation is investigated, using the cases of Lars von Trier’s Riget and John Ajvide Lindqvist’s Låt den rätte komma in, two seminal works of contemporary Nordic Gothic.
,” I asked, “can people really be together?”
Thus, John questions whether socialist ideology can ever actually be fully realised, or if a society based on solidarity and community is only a utopian dream.
GeriatricGothic in the welfare state
Mats Strandberg's novel Hemmet can be regarded as a direct comment on the issue of the privatisation of welfare
Maria Holmgren Troy, Johan Höglund, Yvonne Leffler and Sofia Wijkmark
quote iconic leaders associated with the welfare state, and Rörelsen deals with the murder of Olof Palme in 1986, describing the political climate at the time of his death. The zombie novel Hanteringen av odöda addresses the incapacity of the state to take care of the undead, and the story indicates a connection between the awakening of the dead and climate change, reflecting the ecological anxiety of contemporary society. Strandberg's Hemmet depicts the consequences of welfare profiteering and can be regarded as what Wijkmark calls ‘geriatricGothic’. The