Now here’s a rare and unusual thing: a thoughtful, philosophical, thrilling and exciting werewolf novel and, believe me, there aren’t too many of those about these days...

In the 1765 preface to the second edition of The Castle of Otranto, Horace Walpole professed his aim of blending the ancient and modern romance, an aesthetic he had already applied to the architecture and decor of his mansion at Strawberry Hill. Viewed as the site of the first of many Gothic revivals, the mansion made an apt setting for the conference where many of the essays compiled in Twenty-First-Century Gothic were first presented...

‘Rich older man seeks teenage nanny with daddy issues for stalking, assisted suicide and disturbing Red Riding Hood romance, possibly more’. Or that’s how Joyce Carol Oates’s A Fair Maiden would read if it was in a lonely hearts column. Luckily for us and for Gothic literature in general, Oates has chosen the more conventional novella form.

‘Mind Yer Step’ indeed, as we trudge through the ordure, the blood, the piss buckets and the douche basins of backstreet Victorian London in BBC 2’s four-part adaptation of Michel Faber’s The Crimson Petal and the White....

Tales of hauntings occupy a unique space in the realm of storytelling. Whether they are being told by close friends around dying autumn campfires, whispered by children under blankets after the lights are extinguished, or shared by relatives at a traditional holiday gathering, accounts of ghosts almost always explicitly acknowledge a lack of belief on the part of the audience.

David R. Castillo’s study announces itself as a ‘gallery of horrors’ curated from Early Modern literature, akin to the Wunderkammern (cabinets of curiosities) assembled by Renaissance collectors...

I've just finished reading Vicki Hendricks's Florida Gothic Stories, one of the most unsettling and in many ways unpleasant collections of stories I've read for a long time. But for compulsive reading look no further.

‘I will not torture you.  I will reason with you.  Isn’t that what we do?  Have a dialogue?’ So says the Creature to an astounded and fearful Victor in playwright Nick Dear’s stunning, conceptual adaptation of Mary Shelley’s Frankenstein currently playing at the National Theatre in London.  And what a dialogue it is, with the two protagonists duelling and debating throughout.  Nick Dear’s intention with this piece was to give the Creature his voice back: although Mary Shelley had given him a voice, most adaptations have not, and so the play opens from the Creature’s poin

Diane Long Hoeveler's new monograph comes during a fruitful period for scholars of the so-called 'first wave' of Gothic writing.

What disappointed me the most was that ultimately, I don't think the issue of cloning is really of all that much importance to the film, which barely touches on most of the many abstract issues that the book insists on facing and dissecting. Romanek has decided to put the focus far more on relationships. It is more a story of thwarted love and the fact that the lovers are clones at times seems almost irrelevant.