Focus on young adult literature - This focus on young adult literature means that this book expands scholarship specifically in this area. Focus on the Gothic for young people – Gothic texts are very popular in children’s and young adult literature, but there hasn’t been a lot of scholarship on the Gothic for adolescents. This book expands our knowledge of how the Gothic intersects with young adult literature. Includes coverage of YA fiction from the UK, US, Canada, Australia and New Zealand, a range of genres that intersect with the Gothic (including historical fiction and fairy tale), as well as forms such as the short story and graphic novel.
Rooted in the oral traditions of cultures worldwide, fairy tales have long played an integral part in children's upbringing. Filled with gothic and fantastical elements like monsters, dragons, evil step-parents and fairy godmothers, fairy tales remain important tools for teaching children about themselves, and the dangers and joys of the world around them. In this collection of new essays, literary scholars examine gothic elements in more recent entries into the fairy tale genre--for instance, David Almond's Skellig, Neil Gaiman's The Graveyard Book and Coraline and Lemony Snicket's A Series of Unfortunate Events--exploring such themes as surviving incest, and the capture and consumption of children. Although children's literature has seen an increase in reality-based stories that allow children no room for escape from their everyday lives, these essays demonstrate the continuing importance of fairy tales in helping them live well-rounded lives.
When her health begins failing, the mysterious author Vida Winter decides to let Margaret Lea, a biographer, write the truth about her life, but Margaret needs to verify the facts since Vida has a history of telling outlandish tales.
A gothic YA fantasy debut about a young woman striving to break her sister's curse and stop the killing in her small French town—now in paperback Seventeen-year-old Marie mixes perfumes to sell on market day in her small 18th-century French town. She wants to make enough to save a dowry for her sister, Ama, in hopes of Ama marrying well and Marie living at the level of freedom afforded only to spinster aunts. But her perfumes are more than sweet scents in cheap, cut-glass bottles: A certain few are laced with death. Marie laces the perfume delicately—not with poison, but with a hint of honeysuckle she’s trained her sister to respond to. Marie marks her victim, and Ama attacks. But she doesn’t attack as a girl. She kills as a beast. Marking Ama’s victims controls the damage to keep suspicion at bay. But when a young boy turns up dead one morning, Marie is forced to acknowledge she might be losing control of Ama. And if she can’t control her, she’ll have to cure her. Marie knows the only place she’ll find the cure is in the mansion where Ama was cursed in the first place, home of Lord Sebastian LaClaire. But once she gets into the mansion, she discovers dark secrets hidden away—secrets about the curse, about Lord Sebastian . . . and about herself.
This collection is the first to focus exclusively on twenty-first-century young adult Gothic fiction. The essays demonstrate how the contemporary resurgence of the Gothic signals anxieties about (and hopes for) young people in the twenty-first century. Changing conceptions of young adults as liminal figures, operating between the modes of child and adult, can be mobilised when combined with Gothic spaces and concepts in texts for young people. In young adult Gothic literature, the crossing of boundaries typical of the Gothic is often motivated by a heterosexual romance plot, in which the human or monstrous female protagonist desires a boy who is not her ‘type’. Additionally, as the Gothic works to define what it means to be human – particularly in relation to gender, race, and identity – the volume also examines how contemporary shifts and flashpoints in identity politics are being negotiated under the metaphoric cloak of monstrosity.
Something is wrong with the town of Bailey. Something dark, something dangerous. Something evil. Josh's brother has just drowned. He meets Kate and Gabe, who also have lost family to the river. When they seek the help of a local historian, Naylor, he tells them that there is a sinister longstanding pattern to such tragedies. But some unknown force is trying to help Josh rid the town of its curse. Why is he dreaming of a ship's captain, a hooded monk, a dark familiar with a knife? What is being demanded of him? Soon greater horrors than ever before are set loose. They are fighting against time, as evil has turned its baleful eye upon them.
The Routledge Handbook of Ecofeminism and Literature explores the interplay between the domination of nature and the oppression of women, as well as liberatory alternatives, bringing together essays from leading academics in the field to facilitate cutting-edge critical readings of literature. Covering the main theoretical approaches and key literary genres of the area, this volume includes: • Examination of ecofeminism through the literatures of a diverse sampling of languages, including Hindi, Chinese, Arabic, and Spanish; native speakers of Tamil, Vietnamese, Turkish, Slovene, and Icelandic. • Analysis of core issues and topics, offering innovative approaches to interpreting literature, including: activism, animal studies, cultural studies, disability, gender essentialism, hegemonic masculinity, intersectionality, material ecocriticism, postcolonialism, posthumanism, postmodernism, race, and sentimental ecology. • Surveys key periods and genres of ecofeminism and literary criticism, including chapters on Gothic, Romantic, and Victorian literatures, children and young adult literature, mystery, and detective fictions, including interconnected genres of climate fiction, science fiction, and fantasy, and distinctive perspectives provided by travel writing, autobiography, and poetry. This collection explores how each of ecofeminism’s core concerns can foster a more emancipatory literary theory and criticism, now and in the future. This comprehensive volume will be of great interest to scholars and students of literature, ecofeminism, ecocriticism, gender studies, and the environmental humanities.
Technology and Identity in Young Adult Fiction is not a historical study or a survey of narrative plots, but takes a more conceptual approach that engages with the central ideas of posthumanism: the fragmented nature of posthuman identity, the concept of agency as distributed and collective and the role of embodiment in understandings of selfhood.
This two-volume set offers comprehensive coverage of horror literature that spans its deep history, dominant themes, significant works, and major authors, such as Stephen King, Edgar Allan Poe, and Anne Rice, as well as lesser-known horror writers. Many of today's horror story fans—who appreciate horror through movies, television, video games, graphic novels, and other forms—probably don't realize that horror literature is not only one of the most popular types of literature but one of the oldest. People have always been mesmerized by stories that speak to their deepest fears. Horror Literature through History shows 21st-century horror fans the literary sources of their favorite entertainment and the rich intrinsic value of horror literature in its own right. Through profiles of major authors, critical analyses of important works, and overview essays focused on horror during particular periods as well as on related issues such as religion, apocalypticism, social criticism, and gender, readers will discover the fascinating early roots and evolution of horror writings as well as the reciprocal influence of horror literature and horror cinema. This unique two-volume reference set provides wide coverage that is current and compelling to modern readers—who are of course also eager consumers of entertainment. In the first section, overview essays on horror during different historical periods situate works of horror literature within the social, cultural, historical, and intellectual currents of their respective eras, creating a seamless narrative of the genre's evolution from ancient times to the present. The second section demonstrates how otherwise unrelated works of horror have influenced each other, how horror subgenres have evolved, and how a broad range of topics within horror—such as ghosts, vampires, religion, and gender roles—have been handled across time. The set also provides alphabetically arranged reference entries on authors, works, and specialized topics that enable readers to zero in on information and concepts presented in the other sections.
