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The Appeal of True Stories in Gothic and Horror

October 31, 2019

Based on a true story. You must’ve seen this many times in the opening credits of a film. This is particularly the case with works of the Gothic or horror genres. But why do true stories in Gothic or horror fiction appeal to us so much?

Moreover, does the phrase “a true horror story” make sense or not? Remember, good horror fiction should be about the supernatural – no ambiguities allowed. Movies like The Exorcist accept the supernatural (and treat it as such). Compare that to Scooby-Doo Gothic, where there is always a natural explanation for everything.

The “based on a true story” trope is older than you might think. Moreover, just in case you wondered, “based on a true story” is not a writing gimmick but a case of legitimate creative manipulation.

In this post we’ll take a look at its origins and, more importantly, its significance.

true stories gothic horror
“True” stories in Gothic and horror function as a booster of affect
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Gothic Immortality in A Christmas Carol

July 2, 2019

Note: the following article on Gothic immortality in A Christmas Carol is a modified excerpt (pp. 63-64) from my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which can be downloaded (for free) from the repository of the Tampere University Press. For a list of my other academic publications, see the relevant page on the main website.

(Note: Also take a look at the article on immortality in Bram Stoker’s Dracula)

The complexity of Gothic immortality is apparent in Dickens’s A Christmas Carol, which arguably still remains an under-analyzed, deceptively simple text. Perhaps due to the rather jovial mood of the story – and certainly of the implied outcome – certain important Gothic devices can pass unnoticed. That is especially true for issues pertaining to temporality, reality, and immortality.

Gothic Immortality in A Christmas Carol
Gothic immortality in A Christmas Carol is about facing that which is beyond representation; death, the ultimate sublime
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Defining the Gothic: from Tolkien to Todorovian Ambiguity

March 13, 2019

Quite often in this blog, I refer to ambiguity as a fundamental aspect of Gothic literature. Another thing I must’ve mentioned is that defining the Gothic is no easy task, and each scholar seems to have a unique idea on how to approach the matter.

Personally, I like to focus on the aspect of ambiguity and in-betweenness. In this, I draw from Tzvetan Todorov’s definition of the fantastic, as I will explain below.

Examining the differences between the ways Todorov and J.R.R. Tolkien define the fantastic is a fruitful task, as it allows us to pinpoint the ontology of the various expressions of the fantastic. Furthermore, it provides a great theoretical framework for researching more general aspects of otherness.

defining the gothic
Defining the Gothic is no easy task.
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