Southern Gothic is an artistic subgenre of fiction, country music, film, theatre, and television that are heavily influenced by Gothic elements and the American South. Common themes of Southern Gothic include storytelling of deeply flawed, disturbing, or eccentric characters who may be involved in hoodoo, [1] decayed or derelict settings, [2] grotesque situations, and other sinister events relating to or stemming from poverty, alienation, crime, or violence.
Elements of a Gothic treatment of the South were first apparent during the ante- and post-bellum 19th century in the grotesques of Henry Clay Lewis and in the de-idealized representations of Mark Twain. [3] The genre was consolidated, however, in the 20th century, when dark romanticism, Southern humor, and the new literary naturalism merged in a new and powerful form of social critique. [3] The thematic material was largely a reflection of the culture existing in the South following the collapse of the Confederacy as a consequence of the Civil War, which left a vacuum in its cultural and religious values. The resulting poverty and lingering bitterness over the loss of the Civil War in the region during Reconstruction exacerbated the racism, excessive violence, and religious extremism endemic to the region.[ citation needed ]
The term "Southern Gothic" was originally pejorative and dismissive. Ellen Glasgow used the term in this way when she referred to the writings of Erskine Caldwell and William Faulkner. She included the authors in what she called the "Southern Gothic School" in 1935, stating that their work was filled with "aimless violence" and "fantastic nightmares". It was so negatively viewed at first that Eudora Welty said: "They better not call me that!" [4] Another prominent feature in Southern Gothic is its relation to voodoo and hoodoo.
The setting of these works is distinctly Southern. Some of these characteristics include exploring madness, decay and despair, continuing pressures of the past upon the present, particularly with the lost ideals of a dispossessed Southern aristocracy and continued racial hostilities. [4]
Southern Gothic particularly focuses on the South's history of slavery, racism, fear of the outside world, violence, a "fixation with the grotesque, and a tension between realistic and supernatural elements". [4]
Similar to the elements of the Gothic castle, Southern Gothic gives us the decay of the plantation in the post-Civil War South. [4]
Villains who disguise themselves as innocents or victims are often found in Southern Gothic literature, especially stories by Flannery O'Connor, such as "Good Country People" and "The Life You Save May Be Your Own", giving us a blurred line between victim and villain. [4]
Southern Gothic literature set out to expose the myth of old Antebellum South, and its narrative of an idyllic past hidden by social, familial, and racial denials and suppressions. [6]
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A resurgence of Southern Gothic themes in contemporary fiction has been identified in the work of figures like Barry Hannah (1942–2010), [10] Joe R. Lansdale (b. 1951), [11] Helen Ellis (b. 1970) and Cherie Priest (b. 1975). [11]
A number of films and television programs are also described as being part of the Southern Gothic genre. Some prominent examples are:
Southern Gothic (also known as Gothic Americana, or Dark Country) is a genre of country music rooted in early jazz, gospel, Americana, gothic rock and post-punk. [28] Its lyrics often focus on dark subject matter. The genre shares thematic connections with the Southern Gothic genre of literature, and indeed the parameters of what makes something Gothic Americana appears to have more in common with literary genres than traditional musical ones. Songs often examine poverty, criminal behavior, religious imagery, death, ghosts, family, lost love, alcohol, murder, the devil, and betrayal.[ citation needed ]
Bruce Springsteen's Nebraska (1982) was influenced by the writings of Flannery O'Connor. [29] Athens, Georgia–based alternative rock band R.E.M. displayed a Southern Gothic influence with their third album, Fables of the Reconstruction (1985). [30] J.D. Wilkes, frontman of the band Legendary Shack Shakers, described Southern Gothic music as "[taking] an angle that there’s something grotesque and beautiful in the traditions of the South, the backdrop of Southern living." [31] Ethel Cain's music has been described as "Southern Gothic Pop," [32] often focusing on themes such as intergenerational trauma, Christianity, grotesque violence, poverty, and abuse, and she often credits inspiration to the works of Southern Gothic writers such as Flannery O’Connor.
The Southern Gothic genre comes to the stage in many different ways.
Southern Gothic fiction writers like Carson McCullers and Zora Neale Hurston adapted their own work for the stage in language-heavy productions of The Member of the Wedding and Spunk.
Playwrights like Tennessee Williams, Beth Henley, and Jacqueline Goldfinger translated elements of Southern Gothic aesthetic to the stage and added theatrical elements such as stylized movement, dialogue, and design. Examples of Southern Gothic plays include the Pulitzer Prize winner A Streetcar Named Desire (1948), the popular The Jacksonian (2014), and the Yale Prize winner Bottle Fly (2018).
In addition, many Southern Gothic novels and short stories have been adapted for the stage by artists who are not the original authors. The Tony Award winning musical The Color Purple by Alice Walker is a prime example of this approach to theatricalization of the Southern Gothic genre. The Color Purple is an adaptation of the novel with music by Brenda Russell, Allee Willis, Stephen Bray, and Marsha Norman which has been performed around the country constantly since its world premiere at the Alliance Theatre in Atlanta in 2004.
The images of Great Depression photographer Walker Evans are seen to evoke the visual depiction of the Southern Gothic; Evans claimed: "I can understand why Southerners are haunted by their own landscape". [33]
Another noted Southern Gothic photographer was surrealist Clarence John Laughlin, who photographed cemeteries, plantations, and other abandoned places throughout the American South (primarily Louisiana) for nearly 40 years.[ citation needed ]
Gothic fiction, sometimes called Gothic horror, is a loose literary aesthetic of fear and haunting. The name refers to Gothic architecture of the European Middle Ages, which was characteristic of the settings of early Gothic novels.
Horror is a film genre that seeks to elicit fear or disgust in its audience for entertainment purposes.
Horror is a genre of speculative fiction that is intended to disturb, frighten, or scare. Horror is often divided into the sub-genres of psychological horror and supernatural horror, which are in the realm of speculative fiction. Literary historian J. A. Cuddon, in 1984, defined the horror story as "a piece of fiction in prose of variable length ... which shocks, or even frightens the reader, or perhaps induces a feeling of repulsion or loathing". Horror intends to create an eerie and frightening atmosphere for the reader. Often the central menace of a work of horror fiction can be interpreted as a metaphor for larger fears of a society.
Mary Flannery O'Connor was an American novelist, short story writer, and essayist. She wrote two novels and 31 short stories, as well as a number of reviews and commentaries.
A hybrid genre is a literary or film genre that blends themes and elements from two or more different genres. Works in hybrid genres are also referred to as cross-genre, multi-genre, mixed genre, or fusion genre. The Dictionary of Media and Communication describes hybrid genre as "the combination of two or more genres", which may combine elements of more than one genre and/or which may "cut across categories such as fact and fiction". Some such sub-genres have acquired their own specialised names, such as comedy drama, romantic comedy ("rom-com"), horror Western, and docudrama.
Since at least the 18th century, grotesque has come to be used as a general adjective for the strange, mysterious, magnificent, fantastic, hideous, ugly, incongruous, unpleasant, or disgusting, and thus is often used to describe weird shapes and distorted forms such as Halloween masks. In art, performance, and literature, however, grotesque may also refer to something that simultaneously invokes an audience feeling of uncomfortable bizarreness as well as sympathetic pity.
A ghost story is any piece of fiction, or drama, that includes a ghost, or simply takes as a premise the possibility of ghosts or characters' belief in them. The "ghost" may appear of its own accord or be summoned by magic. Linked to the ghost is the idea of a "haunting", where a supernatural entity is tied to a place, object or person. Ghost stories are commonly examples of ghostlore.
Dark fantasy is a subgenre of fantasy literary, artistic, and cinematic works that incorporates disturbing and frightening themes. The term is ambiguously used to describe stories that combine horror elements with one or other of the standard formulas of fantasy.
Southern Ontario Gothic is a subgenre of the Gothic novel genre and a feature of Canadian literature that comes from Southern Ontario. This region includes Toronto, Southern Ontario's major industrial cities, and the surrounding countryside. While the genre may also feature other areas of Ontario, Canada, and the world as narrative locales, this region provides the core settings.
Southern United States literature consists of American literature written about the Southern United States or by writers from the region. Literature written about the American South first began during the colonial era, and developed significantly during and after the period of slavery in the United States. Traditional historiography of Southern United States literature emphasized a unifying history of the region; the significance of family in the South's culture, a sense of community and the role of the individual, justice, the dominance of Christianity and the positive and negative impacts of religion, racial tensions, social class and the usage of local dialects. However, in recent decades, the scholarship of the New Southern Studies has decentralized these conventional tropes in favor of a more geographically, politically, and ideologically expansive "South" or "Souths".
Erotic horror, alternately called horror erotica or dark erotica, is a genre of fiction in which sensual or sexual imagery are blended with horrific overtones or story elements for the purpose of sexual titillation. Horror fiction of this type is most common in literature and film. Erotic horror films are a cornerstone of Spanish and French horror.
Dark Romanticism is a literary sub-genre of Romanticism, reflecting popular fascination with the irrational, the demonic and the grotesque. Often conflated with Gothic fiction, it has shadowed the euphoric Romantic movement ever since its 18th-century beginnings. Edgar Allan Poe is often celebrated as one of the supreme exponents of the tradition. Dark Romanticism focuses on human fallibility, self-destruction, judgement, punishment, as well as the psychological effects of guilt and sin.
Suburban Gothic is a subgenre of Gothic fiction, art, film and television, focused on anxieties associated with the creation of suburban communities, particularly in the United States and the Western world, from the 1950s and 1960s onwards.
Tasmanian Gothic is a genre of Tasmanian literature that merges traditions of Gothic fiction with the history and natural features of Tasmania, an island state south of the main Australian continent. Tasmanian Gothic has inspired works in other artistic media, including theatre and film.
American gothic fiction is a subgenre of gothic fiction. Elements specific to American Gothic include: rationality versus the irrational, puritanism, guilt, the uncanny, ab-humans, ghosts, and monsters.
Urban Gothic is a sub-genre of Gothic fiction, film horror, and television dealing with industrial and post-industrial urban society. It was pioneered in the mid-19th century in Britain, Ireland, and the United States, before being developed in British novels such as Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde (1886) and Irish novels such as Oscar Wilde's The Picture of Dorian Gray (1890) and Bram Stoker's Dracula (1897). In the twentieth century, urban Gothic influenced the creation of the sub-genres of Southern Gothic and suburban Gothic. From the 1980s, interest in the urban Gothic was revived with books like Anne Rice's Vampire Chronicles and a number of graphic novels that drew on dark city landscapes, leading to adaptations in film including Batman (1989), The Crow (1994) and From Hell (2001), as well as influencing films like Seven (1995).
Body horror, or biological horror, is a subgenre of horror fiction that intentionally showcases grotesque or psychologically disturbing violations of the human body or to any other creature. These violations may manifest through aberrant sex, mutations, mutilation, zombification, gratuitous violence, disease, or unnatural movements of the body. Body horror was a description originally applied to an emerging subgenre of North American horror films, but has roots in early Gothic literature and has expanded to include other media.
Gothic Western is a subculture, artistically similar to gothic Americana, but blends goth and Western lifestyles that are notably visible in fashion, music, film and literature.
Romance, is a "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents". This genre contrasted with the main tradition of the novel, which realistically depict life. These works frequently, but not exclusively, take the form of the historical novel. Walter Scott describes romance as a "kindred term", and many European languages do not distinguish between romance and novel: "a novel is le roman, der Roman, il romanzo".
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