gothichistoricalbackground

The Dark Side of Individualism McDougal Littel

American Gothic

Set in an ancient castle where strange and terrifying events take place, Horace Walpole’s The Castle of Otranto (1765) spawned the Gothic tradition in English fiction. Eighteenth-century readers fell in love with the novel’s weird setting and macabre plot, and over the next century, Gothic novels of varying literary quality poured from the presses. In them, some of the greatest creatures of all time were born—including the repulsive monster created from human body parts in Mary Shelley’s Frankenstein (1818) and the dangerously attractive count in Bram Stoker’s Dracula (1897). Today, Anne Rice’s sexy vampire Lestat owes his immortal life to the Gothic tradition. The spirit and imagery of the Gothic literary tradition came in part from the Gothic architecture of the Middle Ages. Cavernous Gothic cathedrals with their irregularly placed towers and their high stained-glass windows were intended to inspire awe and fear in religious worshippers. Gargoyles—those carvings of small deformed creatures squatting at the corners and crevices of Gothic cathedrals—were supposed to ward off evil spirits, but they often looked more like demonic spirits themselves. Think of a gargoyle—a grotesque creature—as the mascot of Gothic, and you will get a good idea of the kind of imaginative distortion of reality that Gothic represents. Another force that gave rise to Gothic literature was the romantic movement. Romanticism developed as a reaction against the rationalism of the Age of Reason. once the romantics freed the imagination from the lordship of reason, they could follow the imagination wherever it might lead them. For some romantic writers, the imagination led to the threshold of the unknown—that shadowy region where the fantastic, the demonic, and the insane reside. This is Gothic territory. Because of this perspective, the Gothic tradition can be called the dark side of individualism. When romantics looked at an individual, they saw hope; but when Gothic writers looked at an individual, they saw potential evil (think of anything you’ve ever read by Edgar Allan Poe). While romantic writers were extolling the beauties of nature, the Gothic writers were peering into the darkness at the supernatural. The Gothic tradition was firmly established in Europe before American writers had made names for themselves. By the 19th century, however, Edgar Allan Poe and Nathaniel Hawthorne, and to a lesser extent Washington Irving and Herman Melville, were using Gothic elements in their fiction. Edgar Allan Poe, of course, was the master of the Gothic form in the United States. In many of his stories, dark medieval castles or decaying ancient estates provide the setting for weird and terrifying events. Many of Poe’s male narrators are insane; his female characters, beautiful and dead (or dying). His plots involve extreme situations—not just murder, but live burials, physical and mental torture, and retribution from beyond the grave. For Poe, it was only in such extreme situations that people revealed their true natures. The Gothic dimension of this fictional world offered him a way to explore the human mind in these extreme situations and so arrive at an essential truth. Hawthorne also used Gothic elements in his fiction to express what he felt were important truths. However, instead of looking at the mind and its functions (or dysfunctions) as Poe did, Hawthorne examined the human heart under various conditions of fear, greed, vanity, mistrust, and betrayal.

Traditions Across Time: Southern Gothic After the real horrors of the Civil War, the popularity of Gothic writing waned in the United States. Realism replaced romanticism as the preferred American literary style. The Gothic spirit had to wait until the 20th century before it again found fertile ground for its particular brand of truth telling. That ground was the American South. Modern Southern writers as diverse as William Faulkner, Carson McCullers, Truman Capote, and Flannery O’Connor are sometimes grouped together in the category of Southern Gothic because of the gloom and pessimism of their fiction. For William Faulkner, the crumbling medieval castle of 19th-century Gothic fiction became the decaying plantation, with its fallen aristocratic family isolated in time and place. Instead of ghostly figures stalking noble heroines, Faulkner gave us the ghost of the past hounding his not-so-noble characters to madness and death. Coming after Faulkner, Flannery O’Connor saw the pressures of modern life making grotesques of us all. Like Hawthorne, O’Connor was interested in the human heart and its potential for evil. In her view, the old moral and religious order was crumbling. Criminals, con men, and fools—rather than ghosts and goblins—were unleashed upon the world. You will see Gothic aspects in the works of many writers, such as Ambrose Bierce, Charlotte Perkins Gilman, and Sylvia Plath. Try to identify what is Gothic about the next horror movie you see or the next Stephen King or Anne Rice novel you read.