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What Exactly Gothic Is

(Let me preface with trigger warnings, because Gothic makes a point of delving into dark themes: murder, abuse, racism, homophobia, incest, ableism, misogyny)

I have seen certain posts about what the definite characteristics of gothic fiction are that, I hate to say…felt either incomplete or inaccurate. And that has bothered me enough to make my own post about, at the very least, my understanding of this genre. 

Some things to get out of the way:

Gothic does not have one fixed definition. It is fluid and nebulous, and while all literature reflects its society, genre changes massively depending on where it was written. Canadian Gothic is not Welsh Gothic is not American Gothic. Victorian Gothic is not contemporary Gothic is not Regency Gothic. Nineteenth century British gothic is often in response to the drastic technological changes of the industrial revolution. Welsh Gothic has a lot of focus on the disenfranchised and the coal mining industry. Where and when your WIP is, and where and when YOU are writing it, is going to define it. 

We cannot talk about Gothic as a genre without talking about the racism that much of it is rooted in. We cannot ignore Charlotte Bronte’s dehumanising description of Bertha Rochester, a creole woman. We cannot ignore that Edward Hyde’s physical description is less ‘white’ than Henry Jekyll’s. We cannot ignore Heathcliff’s identity as a racially ambiguous villain. We cannot ignore just how bigoted in every way Dracula is. We CANNOT ignore the whiteness of much of the ‘feminist’ gothic literature, either. This is something you must be aware of if you’re writing Gothic - it is not integral to gothic fiction but as I will explain, the traits of the genre lend themselves to antagonising marginalised groups.

Gothic is not just gothic horror. It can be horror, but it is still a genre in its own right and the horror is not mandatory.  

This post is about gothic as a literary genre. I will not be talking about Ostrogoths, Visigoths, gothic architecture or art, and - for once - I’m not talking about the Goth subculture either, the two actually have almost nothing in common.

Some frequent, though not all required, characteristics of the gothic (this is NOT a checklist. I cannot stress that this is a genre purposefully WITHOUT a clear definition):

Familial trauma - the ending of family lines (the presence of the aristocracy is common in Gothic, this trope perhaps most blatantly depicted in Edgar Allan Poe’s The Fall of the House of Usher), hauntings - not necessarily literal but metaphorical. There’s often a secret, or some kind of terrible incident that has been covered up, amongst a family that is inevitably unearthed. Marital trauma is very common - as seen in Jane Eyre with the original ‘madwoman in the attic’, the mystery surrounding the titular character in Rebecca, the secret room of The Bloody Chamber, the murdered husband being literally unearthed in House of America. 

The setting is everything in Gothic. It often has a presence enough that it is a character in its own right. Key things about the setting is that it’s typically old - or at least old enough to have a turbulent history - and typically remote, ‘feral’, in amongst nature and separate from civilisation. The latter is very often executed in a racist and/or xenophobic way in Gothic classics. Think very critically of what is considered ‘civilisation’ and what is not. Dracula being a novel about white Christian Britons being threatened by an Eastern European vampire? Don’t replicate that. You will also see the ‘sublime’ (see below) here, and motifs of decay (which can be linked to the ending of a family line easily!), and themes surrounding imprisonment and escape. Gothic fiction loves pathetic fallacy - whether a storm, fog, rain or bitter cold, the weather is absolutely there to set the tone.

Repression. This can be of a trauma, but repression of sexuality can feature too. I have seen it asserted that homoeroticism is a key component in Gothic, and while it can feature, I would not say entirely agree, for a number of reasons. There is often a focus on ‘taboo’ sexuality, a categorisation which places LGBT people with taboos such as incest (which features often in some forms of Gothic). Homophobic tropes such as the predatory gay villain (e.g. Dracula’s obsession with Jonathan Harker and Mrs Danver’s obsession with Rebecca) are fairly common, and a general treatment of homosexuality as immoral or depraved especially older texts, so let’s not act like it’s always been a LGBT friendly genre. Something either hidden away or repressed that is then discovered is a huge, huge, component to most gothic fiction. 

Misogynistic gender dynamics are often present: the combination of a young, vulnerable and innocent woman with an older male ‘Byronic Hero’ type love interest is common. The Victorian template of ‘bad’, ‘promiscuous’ or otherwise ‘improper’ woman reaching a sticky end is well loved. And then there’s Poe’s sinister obsession with ‘beautiful dead woman’. Don’t forget the intersection of ableism and misogyny with the ‘mad’ women like Bertha Rochester and Miss Havisham (though Eleanor Vance of The Haunting of Hill House is a sympathetic antidote of this trope.) The way women are written is something I’d very much like us to move beyond. 

The sublime: this is everywhere. That something, especially the wilderness, is beautiful and massive enough to be incomprehensible. 

Doubles or doppelgangers. Often as a ‘darker’ reflection of the protagonist - such as the hero and villain having close parallels, or the heroine as a foil to her husband’s mysterious dead first wife. It doesn’t have to exist just in this way, but the motif of the doppelganger is one Gothic fiction likes a lot.

‘Otherness’ or monstrosity. ‘Otherness’ and ‘Othering’ is something that is a crucial part of literary theory - what the narrative deems strange, unfamiliar, not like us, and so most depictions of monsters will also be Othered. Considering how almost all of the time in the Western literary canon this is a vehicle for racism, please think critically. Frankenstein’s monster has a more nuanced approach to what society defines as strange, or monstrous, how monstrosity is created, and self fulfilling prophecies. 

Cultural anxiety. This is by no means unique to Gothic but the genre is shaped by what the society of its creation is afraid of. This - like Frankenstein or The Strange Case of Dr Jekyll and Mr Hyde - can be scientific advancement and new discoveries we do not yet understand, but the problem arises that for a lot of Western Gothic this has been marginalised groups. 

The Uncanny. As found in various forms of horror - same with the fear of the unknown, but often in Gothic - that something resembles something else enough to recognise at least what it ‘tries’ to be, but not enough for it to be truly familiar. This is a really effective way to make any person, place, or thing unsettling.

I think I’ve covered most of my notes - please take my first bullet point into consideration as this will inevitably be a bit UK centric. The thing about gothic is that it doesn’t really have one fixed meaning, so you have a lot of freedom. Bonus: if you want to read a really good gay feminist Gothic short story, ‘The Resident’ by Carmen Maria Machado is one of the best pieces of fiction, ever. 

“夢見が悪い…” ↳ : 9 scary horror games may cause you have bad dreams

There are plenty of staircases in the middle of the woods, and we all have heard the stories about what happens if you go up them. But you don't hear much about the doors you can find at the heart of forests. It's probably because the heart of a forest is not easily accessed. However, should you manage to find your way into one, you will always find a door. Frame and all, with no building around it or any signs that there ever was anything more to it. Just a door. I don't suggest you go through it unless you either know that the forest has deemed you worthy of protecting, or you are in search of a fate worse than death at the hands of natural spirits.

If you do find one, pay close attention to any markings the door bears, as the type, frequency, and severity all determine the kind of things waiting for you beyond that door. Depending on what exactly you find there, it may be in your best interest to leave without another thought about it.

Should you decide to enter, it will feel as if you have merely walked through the door, nothing will feel different.

At first.

I cannot tell you certainly about all the potential things you might find when you cross over. There's too many possibilities. Crossing between realms is an unstable practice. However, here are some things to keep in mind:

·You do not want to get injured on the other side of the door.

·You do not want to die on the other side of the door.

·Do not eat or drink anything you find on the other side of the door.

·Do not make eye contact with strangers in black coats on the other side of the door.

·should you manage to find yourself on the otherside of the door, do not interact, do not attempt to interact, and should the "you" on the other side see you, leave immediately and never come back.

·if you don't recognize the language spoken on the other side, They are plotting. You have about 35 minutes to leave after you realize.

·Do not attempt to remain here or to stay overnight. You will not be allowed to leave.

Sunset photographed between the Temple of the Sun and the Temple of the Moon

Cathedral Valley, Utah, taken March 2017

Out of the rustling wheat, you see a human-looking hand emerge. You know deep down it is not human.

Blasphemous + concept art by Juan Miguel López Barea

a little fanart for blasphemous, an amazing game by the creators of the last door. I love its gothic imagery and heavily religious setting!