After a close encounter with a bus, Alona Dare goes from homecoming queen to Queen of the Dead. She’s stuck as a ghost in the land of the living with no sign of the big, bright light to take her to a better place. To make matters worse, the only person who might be able to help her is Will Killian, a total loser outcast. More than anything, Will wishes he didn’t have the rare ability to communicate with the dead, especially the former mean girl of Groundsboro High. He’s not filling out any volunteer forms to help her cross to the other side, though it would bring him some welcome peace and quiet. Can they get over their mutual distrust -- and quasi-attraction -- to work together? Readers of this spirited paranormal comedy won't want this odd couple to ever part.
Before they were friends, he had already noticed her. He wanted her hands - those beautiful, enchanting hands - to himself. And he hoped that the local madman who had been "collecting" the hands of anything that moved - babies, children, men, women, animals - would get them for him...until the day she asked him to teach her how to smile. -- VIZ Media
What Is Goth? is a humorous, self-deprecating look at Goth culture from the inside out. Imagine The Preppy Handbook colliding with Charles Addams. Then add a lot more melancholy and a lot more spooky. What Is Goth? dispels the false stereotypes and reinforces the true ones surrounding Goths and Goth culture. "To the mundane," Voltaire writes, "Goths are weird, black-clad freaks who are obsessed with death; they are sad all of the time. Take a closer look at the Goth scene, however, and you will find a rich tapestry of ideas and practices and a menagerie of colorful characters. Oh, dear. I said 'colorful.'" Yes, Goths are pale, wear black clothing, love black makeup (on men and women), mope, listen to real downer music, and perfect the art of living in a perpetual state of ennui and melancholy. But there's so much more to being Goth. Goths come from all walks of life. Many are teenagers who live with their parents; others are doctors, lawyers, musicians, and so on. Most Goths are highly literate and creative, but all real Goths have to dress the part. In other words, "Abandon all hope ye who enter a Goth club in khakis!" Eerily illustrated, What Is Goth? is the perfect book for any Goth, Goth wannabe, or "mundane" who is hopelessly confused by all the gloom.
A fiercely individualist Goth girl wakes up to discover that the whole world has gone Goth and she's actually -- gag -- popular. Jade Leigh is a nonconformist who values individuality above all else. She has a small group of like-minded Goth friends who wear black, dabble in the dark arts, and thrive outside the norm. They're considered the "freaks" of their high school. But when Jade's smart mouth lands her in trouble -- again -- her principal decides to teach her a lesson she'll never forget. Taken to a remote location where she is strapped down and sedated, Jade wakes up in an alternate universe where she rules the school. But her best friends won't talk to her, and the people she used to hate are all Goth. Only Clarik, the mysterious new boy in town, operates outside all the cliques. And only Mercedes, the Barbie clone Jade loathes, believes that Jade's stuck in a virtual reality game -- because she's stuck there, too, now living the life of a "freak." Together, they realize they might never get back to reality...and that even if they do, things might never be the same.
Since it first emerged from Britain’s punk-rock scene in the late 1970s, goth subculture has haunted postmodern culture and society, reinventing itself inside and against the mainstream. Goth: Undead Subculture is the first collection of scholarly essays devoted to this enduring yet little examined cultural phenomenon. Twenty-three essays from various disciplines explore the music, cinema, television, fashion, literature, aesthetics, and fandoms associated with the subculture. They examine goth’s many dimensions—including its melancholy, androgyny, spirituality, and perversity—and take readers inside locations in Los Angeles, Austin, Leeds, London, Buffalo, New York City, and Sydney. A number of the contributors are or have been participants in the subculture, and several draw on their own experiences. The volume’s editors provide a rich history of goth, describing its play of resistance and consumerism; its impact on class, race, and gender; and its distinctive features as an “undead” subculture in light of post-subculture studies and other critical approaches. The essays include an interview with the distinguished fashion historian Valerie Steele; analyses of novels by Anne Rice, Poppy Z. Brite, and Nick Cave; discussions of goths on the Internet; and readings of iconic goth texts from Bram Stoker’s Dracula to James O’Barr’s graphic novel The Crow. Other essays focus on gothic music, including seminal precursors such as Joy Division and David Bowie, and goth-influenced performers such as the Cure, Nine Inch Nails, and Marilyn Manson. Gothic sexuality is explored in multiple ways, the subjects ranging from the San Francisco queercore scene of the 1980s to the increasing influence of fetishism and fetish play. Together these essays demonstrate that while its participants are often middle-class suburbanites, goth blurs normalizing boundaries even as it appears as an everlasting shadow of late capitalism. Contributors: Heather Arnet, Michael Bibby, Jessica Burstein, Angel M. Butts, Michael du Plessis, Jason Friedman, Nancy Gagnier, Ken Gelder, Lauren M. E. Goodlad, Joshua Gunn, Trevor Holmes, Paul Hodkinson, David Lenson, Robert Markley, Mark Nowak, Anna Powell, Kristen Schilt, Rebecca Schraffenberger, David Shumway, Carol Siegel, Catherine Spooner, Lauren Stasiak, Jeffrey Andrew Weinstock
A fascinating journey into the dark heart of the American gothic that analyzes its connections to race and racism in 21st-century America Haunted houses, bitter revenants and muffled heartbeats under floorboards—the American gothic is a macabre tale based on a true story. Part memoir and part cultural critique, Darkly explores American culture’s inevitable gothicity in the traces left from chattel slavery. The persistence of white supremacy and the ubiquity of Black death feeds a national culture of terror and a perpetual undercurrent of mourning. If the gothic narrative is metabolized fear, if the goth aesthetic is
This book is a visual foray into Japan’s popular and influential Gothic-Lolita and Gothic Punk subculture. It showcases a creative lifestyle synthesized from a remix of Victoriana, the macabre, anime, and theatricality, drawing on the early punks of the ’70s and ’80s and the club kids of the ’90s. Japanese Goth blends disparate elements of global pop culture into something fun, stylish, and unique—part Marilyn Manson, part Hello Kitty. It attracts established figures from Tokyo’s trendsetting fashion, art, and design scenes, and has inspired the next generation of designers, tastemakers, and fashionistas. Featured here are key designers, artists, and personalities including Mana & Gackt, Kokusyoku Sumire, Ayako-S, Koitsukihime, Gloomy Bear, and many others.
'Goth Culture' explores Goths' expressive practices of dress, fashion, style and the body, in relation to issues of identity and representation. The book shares vivid accounts of the author's experiences exploring gender and sexuality and doing fieldwork in the Gothic subculture in the UK, US and Germany.
On college campuses and in high school halls, being white means being boring. Since whiteness is the mainstream, white kids lack a cultural identity that’s exotic or worth flaunting. To remedy this, countless white youths across the country are now joining more outré subcultures like the Black- and Puerto Rican–dominated hip-hop scene, the glamorously morose goth community, or an evangelical Christian organization whose members reject campus partying. Amy C. Wilkins’s intimate ethnography of these three subcultures reveals a complex tug-of-war between the demands of race, class, and gender in which transgressing in one realm often means conforming to expectations in another. Subcultures help young people, especially women, navigate these connecting territories by offering them different sexual strategies: wannabes cross racial lines, goths break taboos by becoming involved with multiple partners, and Christians forego romance to develop their bond with God. Avoiding sanctimonious hysteria over youth gone astray, Wilkins meets these kids on their own terms, and the result is a perceptive and provocative portrait of the structure of young lives.
