Southern Gothic

Southern Gothic is a subgenre of Gothic fiction in American literature that takes place exclusively in the American South.

Common themes in Southern Gothic literature include deeply flawed, disturbing or eccentric characters who may or may not dabble in hoodoo,[1] ambivalent gender roles, decayed or derelict settings,[2] grotesque situations, and other sinister events relating to or stemming from poverty, alienation, crime, or violence.

Origins

Elements of a Gothic treatment of the South were apparent in the 19th century, ante- and post-bellum, in the grotesques of Henry Clay Lewis and the de-idealized visions of Mark Twain.[3] The genre came together, however, only in the 20th century, when dark romanticism, Southern humor, and the new literary naturalism merged into a new and powerful form of social critique.[3]

The term "Southern Gothic" was originally used as 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]

Characteristics

The Southern Gothic style is one that employs the use of macabre, ironic events to examine the values of the American South.[5] Thus unlike its parent genre, it uses the Gothic tools not solely for the sake of suspense, but to explore social issues and reveal the cultural character of the American South – Gothic elements often taking place in a magic realist context rather than a strictly fantastical one.

Warped rural communities replaced the sinister plantations of an earlier age; and in the works of leading figures such as William Faulkner, Carson McCullers and Flannery O'Connor, the representation of the South blossomed into an absurdist critique of modernity as a whole.[3]

There are many characteristics in Southern Gothic Literature that relate back to its parent genre of American Gothic and even to European Gothic. However, the setting of these works are distinctly Southern. Some of these characteristics are 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, 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 Live 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 a idyllic past hidden by social, familial, and racial denials and suppressions.[6]

Authors and music

Authors

Some have included Eudora Welty in the category, but apparently she disagreed: "They better not call me that!", she abruptly told Alice Walker in an interview.[8]

A resurgence of Southern Gothic themes in contemporary fiction has been identified in the work of figures like Barry Hannah (1942-2010),[9] Joe R. Lansdale (b. 1951)[10] and Cherie Priest (b. 1975).[10]

Music

Southern Gothic (also known as Gothic Americana, or Death Country) is a genre of music characterized by a fusion of alternative rock and classic country/folk. 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.[11]

Artists

Albums

Photographic representation

The images of Great Depression photographer Walker Evans are frequently seen to evoke the visual depiction of the Southern Gothic, Evans claiming that "I can understand why Southerners are haunted by their own landscape".[12]

Another noted Southern Gothic photographer was surrealist, Clarence John Laughlin, who photographed plantations, cemeteries, and other abandoned places throughout the South (primarily Louisiana) for nearly 40 years.

Film and television

A number of films and television programs are also described as being part of the Southern Gothic genre. Some prominent examples are:

Postmodern pastiche

William Gibson took an ironical look at the cult of 'Southernness' in his novel Virtual Light. Rydell, the stolid, southern antihero, is looking for a job at an LA shop called Nightmare Folk Art — Southern Gothic. The (northern) owner finds him unsuitable. "'What we offer people here is a certain vision, Mr. Rydell. A certain darkness as well. A Gothic quality....The Mind of the South. A fever dream of sensuality'".[17]

Put out to find himself not southern enough for this New Englander, "'Lady,' Rydell said carefully, 'I think you're crazier than a sack full of assholes.' Her eyebrows shot up. 'There,' she said. 'There what?' 'Color, Mr. Rydell. Fire. The brooding verbal polychromes of an almost unthinkably advanced decay.'"[17]

See also

Notes

  1. ↑ Julia Merkel (2008). Writing against the Odds. pp. 25–27.
  2. ↑ Harold Bloom (2009). The Ballad of the Sad Cafe – Carson McCullers. pp. 95–97.
  3. 1 2 3 Flora, Joseph M.; Mackethan, Lucinda Hardwick, eds. (2002). The Companion to Southern Literature. pp. 313–16. ISBN 978-0807126929.
  4. 1 2 3 4 5 Marshall, Bridget (2013). Defining Southern Gothic. Critical Insights: Southern Gothic Literature: Salem Press. pp. 3–18. ISBN 978-1-4298-3823-8.
  5. ↑ "Genre: The Southern Gothic". Oprah Winfrey.
  6. ↑ Walsh, Christopher (2013). "Dark Legacy": Gothic Ruptures in Southern Literature. Critical Insights: Southern Gothic Literature: Salem Press. pp. 19–33. ISBN 978-1-4298-3823-8.
  7. ↑ Allan Lloyd Smith (2004). American Gothic Fiction: An Introduction.
  8. ↑ Susan V. Donaldson (September 22, 1997). "Making a Spectacle: Welty, Faulkner, and Southern Gothic". The Mississippi Quarterly.
  9. ↑ Julia Merkel (2008). Writing against the Odds. p. 31.
  10. 1 2 Daniel Olson (2011). 21st-century Gothic. p. 171.
  11. ↑ "Gothic Americana tag". Last.fm. Retrieved March 10, 2014.
  12. ↑ Julia Merkel (2008). Writing against the Odds. p. 57.
  13. 1 2 3 4 5 6 7 8 9 10 11 12 Samuel Wigley (January 20, 2014). "10 great Southern Gothic films". BFI.org.uk. British Film Institute. Retrieved March 13, 2014.
  14. ↑ Gibron, Bill. "More than Just Gore The Macabre: Moral Compass of Lucio Fulci". PopMatters. Retrieved 26 July 2015.
  15. ↑ Gibron, Bill. "Lucio Fulci's The Beyond (1981)". PopMatters. Retrieved 26 July 2015.
  16. ↑ "Building a Southern Gothic". The Wall Street Journal. April 24, 2013. Retrieved May 6, 2014.
  17. 1 2 William Gibson (1993). Virtual Light. pp. 53–4.

External links

This article is issued from Wikipedia - version of the Saturday, May 07, 2016. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.