The Gothic Literature and History of New England surveys the history, nature and future of the Gothic mode in the region, from the witch trials through the Black Lives Matter Movement. Texts include Cotton Mather and other Puritan divines who collected folklore of the supernatural; the Frontier Gothic of Indian captivity narratives; the canonical authors of the American Renaissance such as Melville and Hawthorne; the women's ghost story tradition and the Domestic Gothic from Harriet Beecher Stowe to Charlotte Perkins Gilman to Shirley Jackson; H. P. Lovecraft; Stephen King; and writers of the current generation who respond to racial and gender issues. The work brings to the surface the religious intolerance, racism and misogyny inherent in the New England Gothic, and how these nightmares continue to haunt literature and popular culture—films, television and more.

This comprehensive comparative approach to the folklore, fantasy, and horror literature of New England stretches from the earliest European exploration to Stephen King, John Updike, and Shirley Jackson. Includes interviews with Les Daniels, Grandt, and other horror writers who reside or set their stories in New England.

“Brown’s comic take on America today is both amazing and memorable . . . One of the most brilliant and original new writers to appear for a long time.” (Alison Lurie, Pulitzer Prize–winning author) “Everything Natalie said seemed, to herself, to have been said better by him. He was less fond of speaking, however, than he was of hitting people in the face, which seemed a more likely source of her love to those of us who knew him,” begins Jason Brown’s linked collection of beautifully haunted, violent, and wry stories set in the densely forested lands of northern New England. In these tales of forbidden love, runaway children, patrimony, alcohol, class, inheritance, and survival, Brown’s elegant prose emits both quiet despair and a poignant sense of hope and redemption. These vivid accounts of troubled lives combine the powerful family drama of Andre Dubus and Russell Banks, the dark wit of Denis Johnson, the lost souls of Charles D’Ambrosio, and the New England gothic of Nathaniel Hawthorne. “One quality that makes these stories feel unmistakably new is Brown’s . . . seamless, oddly cinematic shifts among points of view . . . He has a gift for crisp, angular sentences, some of which are embedded with a quiet humor.” —Time Out New York “In Jason Brown’s fine story collection . . . the inhabitants of Vaughn, Maine, are stalked not by Stephen King horror but by intimate afflictions of blood, accident, and history. Yet their stories are too vivid to be entirely bleak. Maine’s woods and rivers, its changing light, are the beautifully rendered constants in a harsh, even malevolent, world.” —The Boston Globe

Transatlantic approach: This project explores British and American texts in conversation together. Use of archival materials, which is relatively unusual within Gothic studies, and even in literary studies more generally. A focus on poetry, drama, and periodical writing, genres that are often ignored in the study of the Gothic. A focus on women’s work (both on the labor of women and on texts by women). A focus on local Gothic (especially in Lowell and Manchester), with a connection to larger international trends of the genre.

Gothic Britain is the first collection of essays to consider how the Gothic responds to, and is informed by, the British regional experience. Acknowledging how the so-called United Kingdom has historically been divided on nationalistic lines, the twelve original essays in this volume interrogate the interplay of ideas and generic innovations generated in the spaces between the nominal kingdom and its component nations and, innovatively, within those national spaces. Concentrating upon fictions depicting England, Scotland and Wales specifically, Gothic Britain comprehends the generic possibilities of the urban and the rural, of the historical and the contemporary, of the metropolis and the rural settlement – as well as exploring uniquely the fluid space that is the act of travel itself. Reading the textuality of some two hundred years of national and regional identity, Gothic Britain interrogates how the genre has depicted and questioned the natural and built environments of the island of Britain.

A heart-wrenching first novel about the power of place and family ties, the weight of the stories we choose to tell, and the burden of those we hide Frozen in grief after the loss of her son at sea, Edith Baines stares across the water at a schooner, under full sail yet motionless in the winter wind and surging tide of the Northern Reach. Edith seems to be hallucinating. Or is she? Edith’s boat-watch opens The Northern Reach, set in the coastal town of Wellbridge, Maine, where townspeople squeeze a living from the perilous bay or scrape by on the largesse of the summer folk and whatever they can cobble together, salvage, or grab. At the center of town life is the Baines family, land-rich, cash-poor descendants of town founders, along with the ne’er-do-well Moody clan, the Martins of Skunk Pond, and the dirt farming, bootlegging Edgecombs. Over the course of the twentieth century, the families intersect, interact, and intermarry, grappling with secrets and prejudices that span generations, opening new wounds and reckoning with old ghosts. W. S. Winslow's The Northern Reach is a breathtaking debut about the complexity of family, the cultural legacy of place, and the people and experiences that shape us.

"Elegant prose, a veritable Chinese box of puzzles, and authentic, well-rounded characters make this a standout." --Publishers Weekly STARRED review Where memories, realities, and identities blur... David Hazard wanted nothing more than to forget his renegade family and the foggy New England village "on the wrong side" of Narragansett Bay where he grew up. When sudden tragedy brings him back to Little Compton to care for his grandmother during her struggle with dementia, he discovers her fragile memories may hold the key to a bizarre mystery half a century old--and perhaps to the sudden and brutal murder right next door. Once Chief of Police Billy Dyer names her as a witness, Grandma Maggie's recollections become vital. But can they be trusted, especially in a town where everyone has a secret, including David himself? The investigation stalls. Then eccentric millionaire Marcus Rhinegold's yacht disappears into the fog, bodies begin to wash ashore, and Maggie's stories come vividly to life, setting off a chain of events both horrifying and hauntingly familiar. Puritans, gun-runners, Mafiosi, and a rogues' gallery from past and present converge in the mists of the bay, challenging Billy with layers of deception. On Christmas Eve, he enlists David in a daring move to uncover the many truths surrounding Fogland Point.