A Timeless Uncanny

The first mention of the word gothic, before the basis of gothic literature was built, was used in fiction by Horace Walpole who is known as the father of gothic literature. In his book Castle of Otranto, the word gothic was incorporated into his work by a subtitle to the novel. The Castle of Otranto “A Gothic Story” thus marked the beginning of gothic being used as a literary term to define the genre of a work. Walpole used gothic to pay homage to the savage times of the Middle Ages claiming that his novel was merely a translation that belonged to a Catholic Italian writer in 1529. It was not until the second edition of the book that Walpole came out to claim ownership of his book, marking the very first gothic fiction novel. The novel included elements of supernatural aspects that were not discussed before under the same context. While the supernatural works of the past carried more fantastical elements, this new genre examined eerie topics that would later on be classified as uncanny. Uncanny was a term coined by Freud to explore that of a being both carrying homely and unhomely attributes. The castle itself becomes haunted and then is described by Walpole as "...but for Heaven’s sake, good my Lord, send for the chaplain and have the castle exorcised, for, for certain, it is enchanted.”, this new approach at a place being uncanny alongside of people sets the ground for atmospheres being perceived as villainous as well. The uncanny setting, people, and plot establish the main terms found across gothic fiction that would follow after Walpole in contemporary works of literature. 

To understand how texts since Walpole and the genre of gothic which first arose in the 18th century are still relevant in contemporary fiction with themes being seen as timeless, the history of contemporary fiction and how it came to be a broad term used for fiction in the present day should be examined. Contemporary literature became popularised after the Second World War due to people suffering from war trauma losing their sense of life itself. Contemporary fiction thus became closely intertwined with Postmodern views with the meaningless of existence becoming the center of works. These events lead to authors striving for new adventures in terms of stories and characters. However, as years passed contemporary shifted from belonging to that of Postmodern work and rather gained a new meaning of belonging to the present. During the recent decades, authors and critics started using the word contemporary in its literal sense, leaving the movement behind. Contemporary in that sense became works written in the present day about the present day.

The reason why gothic literature survived the test of time lies within the ageless themes present in the works. One of the many examples is creatures that appeared within gothic fiction still being used as attractions of contemporary gothic work. Vampires existed within literature since the short story “The Vampyre” by John Polidori was published, but the model narrated in Bram Stoker in Dracula became the standard for vampires written in the present day. Vampiristic features told by Stoker as “I can see the characteristics of the vampire coming in her face. It is now but very, very slight. But it is to be seen if we have eyes to notice without prejudge. Her teeth are sharper, and at times her eyes are harder.” is still the guideline for alluring vampire stories written today.

Similarly, symbols of the past getting shaped into new modules to fund contemporary storytelling helped gothic literature get its title as being timeless. Stephen King in his 1987 work Misery, adapted the old bad mother archetype seen in ancient mythology into contemporary gothic fiction. Annie embodies the nurturing angry mother figure by both aiding and killing Paul. 

Seeing that figures of the past make an appearance in a new form by carrying the characteristics of the past work, it can be argued that perhaps the base terms found within gothic fiction only made way for the contemporary works to thrive by inspiring new molds of already established species and individuals seen in the classical age of gothic fiction. 

Additionally, places carried fragments of classic gothic literature into the present day as well. Ian McEwan’s novel Comfort of Strangers shows how the allure of the labyrinth-like city can be turned into a decaying place that asks for the downfall of its visitors. As the place demands death and destruction, the city turns into a site of horror. McEwan builds the city’s atmosphere around smothering factors that could result in horror only after it is evidently too late to take action. The city presumed to be Venice is described as follows: 

The dreamlike narrative surrounding the story combined with the horrific events that lead Colin to his inevitable death places this novel in the contemporary gothic genre alongside King’s Misery. 

Weighing up the facts stated above, what makes gothic literature contemporary and timeless lies within the core structure of the genre. By understanding the terms and conditions a gothic work should possess such as uncanny elements of plot, characters, or setting; the reasoning for its timelessness becomes apparent. As these principles can be molded into new forms to create realms in which contemporary fictive rules can be applied to the guidelines of classical gothic fiction, the genre as a consequence amounts to being timeless hence contemporary.