Self-consciously breaching the critical divide between what literary history has subsequently differentiated as the ‘Gothic’ and the ‘Romantic’, this collection of 17 newly commissioned chapters seeks to draw attention to that prominent strain in late eighteenth and early nineteenth-century British, American and European literature in which the distinction between the popular, low-cultural reaches of the Gothic and the ‘High’ Romantic aesthetics of more canonical figures is all but erased.
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