Sheffield Gothic Profile Blog: Lauren Nixon

Sheffield Gothic's final instalment in our profile blog series features our co-organiser, Lauren Nixon, PhD student at the University of Sheffield. Read on as she explores her interest in the Gothic, her favourite Gothic texts, and who she would invite to dinner!

 

Introduction: 

Hi! I’m Lauren Nixon, a PhD researcher at the University of Sheffield. Those of you familiar with this blog and the general goings on at Sheffield Gothic might already know me: I’ve been co-organiser of Sheffield Gothic since 2014, subsequently the Reimagining the Gothic project and, our recent endeavour, Gaming the Gothic. I did my undergraduate at Bath Spa University and came to Sheffield to begin my PhD part-time in 2013, though I’m based in my home town of Nottingham. You can find me on Twitter @literaryla.

What do you research?

My thesis research focuses on the way in which Gothic novels between 1764 and 1826 represented masculinity and national identity in the figure of the soldier. My thesis, ‘Conflicting Masculinities:  the figure of the soldier in Gothic fiction, 1764 – 1826’, explores the way in which the soldiers’ identity in Britain shifted and changed from the period following the Seven Years War, through the American Revolutionary War and into the French Revolutionary and Napoleonic Wars. I’ve always been fascinated by the idea of gender, and the way in which social perception of gender is affected and altered by national identity, but my original research was far more focused on women in the Gothic. About a year into my PhD, I mentioned to my supervisors (Profs. Angela Wright and Andrew Smith, whose profile blogs you can find here and here) that I thought it was interesting how often the heroes of the early Gothic novels were knights, chevaliers and soldiers. I kept returning to the idea, and eventually Angela and Andy suggested that I make it my focus. My thesis looks particularly at the works of Ann Radcliffe, but also the ‘Northanger Novel’s’ and, of course, Jane Austen as well as Mary Shelley’s Valperga and The Last Man. 

My interest in gender and the Gothic stretches well beyond the long eighteenth century, however, and recently I’ve worked on the representation of the soldier and trauma in contemporary texts such as True Blood and Captain America: The Winter Soldier.
 

(Northanger Abbey)

How did you become interested in the Gothic?

Anyone who has followed the Sheffield Gothic blog for some time is probably well aware that I am a notoriously easy scare: my poor nerves can’t handle even the slightest jump scare, and I’ve never been much one for Horror. In fact, when I first came to the Gothic as undergraduate I was pretty certain I didn’t like it: I only took the module because it had my beloved Northanger Abbey on the reading list. But it was there that I discovered not only my love for the Gothic (even if I did think The Mysteries of Udolpho was boring the first time I read it…) but that, really, I’d always been in love with the it. I just didn’t really know what the Gothic actually was. As a kid, I was obsessed with myths, legends and fairytales (shout out to my local library for helping me find and read any and every text that related to King Arthur one particularly drizzly six weeks holiday) as well as texts like Phillip Pullman’s His Dark Materials and the Sally Lockheart series, Tove Janssons’s The Moomins and all things Alice in Wonderland. Once I began studying the Gothic, looking at everything from Le Fanu’s Carmilla to Blade Runner, I couldn’t stop – after all, the answer to ‘but is it Gothic?’ is always yes.
 

What Gothic texts (including shows, films, plays, music etc.) would you recommend and why? 

(Mervyn Peake)

So, the downside of going last is that my fellow Sheffield Goth’s have stolen away the best recommendations. However, there are few texts that are very close to my heart!

The Gormenghast series - Mervyn Peake

I absolutely adore these books: if I could only read one series for the rest of my life, it would be Gormenghast. (‘Yes, we know, you talk about it constantly!’ I hear you cry.) It’s hard to describe Gormenghast succinctly – the first time I read it, I had to constantly reread pages because I couldn’t quite work out what was happening. But in a good way, promise. Peake’s prose is so enchanting and unique: the way he paints both scenes and characters is easy to loose yourself in, and his exploration of the ways in which place, legacy and ritual shapes identity was part of what drew me to academia.

Over the Garden Wall – Cartoon Network, 2014 

Okay, yes, I know: I’ve also talked about this one before. But Over the Garden Wall is a must watch for anyone interested in Gothic storytelling. This ten part animation tells the story of Greg and Wirt, two brothers who find themselves lost in a strange place called The Unknown. The series draws on a number of American Gothic motifs and conventions, playing with what the viewer expects to create a story that is both entertaining and unsettling. Each episode is only around ten minutes long, which makes it a perfect binge watch for an Autumn evening.

The Romance of the Forest – Ann Radcliffe 

I couldn’t not recommend a Radcliffe novel, could I? It was a hard choice between The Castles of Athlin and Dunbayne and The Romance of the Forest¸ but ultimately it’s Radcliffe’s third text that really won me to her. Though not as complex or as masterfully written as her later works, for me The Romance of the Forest is everything you could want from a Gothic romance: suspense, mystery, adventure and more. Also, I was a big fan of Disney’s Sleeping Beauty as a child and I am convinced someone working on that film must have read this novel. The scene where Aurora and Philip meet and dance to ‘Once Upon a Dream’ is almost identical to the first meeting of Adeline and Theodore. Including the friendly woodland creatures.

Dragon Age – Bioware

I was hesitant to recommend this video game series, not because I don’t think its Gothic but because playing them nearly ruined my PhD. The first in the series, Dragon Age: Origins captured my attention almost straight away with its Dungeons and Dragons inspired levelling system and in-depth worldbuilding. All three game employ Gothic aesthetics and conventions, but the second in the series (Dragon Age 2) for me was particularly consciously Gothic. I spoke briefly at this year’s IGA conference about the way in which the play experience is used in the series to convey and create emotional responses. Each game you play as a new hero, but your choices and decisions in the previous game directly affect the state of the world in the next. 

Buzzfeed Unsolved 

(Buzzfeed Unsolved)

I’m someone who consumes media constantly, and on a large scale. The dawn of platforms like Twitch (my beloved DnD livestream show Critical Role nearly made it to this list, and though I do highly recommend it for anyone interested in joint storytelling or fantasy gaming, it is a lot of hours of content) and Youtube have brought some wonderful shows to life. Buzzfeed Unsolved, which is now in its fourth season, is a must watch for anyone who enjoys mystery and the unexplained. The show is split into two: True Crime and Supernatural. Each week hosts, Ryan Bergara (who does believe in the supernatural) and Shane Madej (who most certainly does not) either discuss an unsolved mystery or visit a location that is supposedly haunted. It’s a fun and informative show, whether you believe or not (#Shaniac). 

Gaslight (1944) 

Each year when we decide the schedule for our reading group, we try to include a variety of mediums – which, as someone who can’t handle a scare, can be difficult sometimes when it comes to film. However Gaslight has always been at the top of my must see list when it comes to Gothic cinema: based on the play by Peter Hamilton and starring Ingrid Bergman, this film is truly a masterpiece in Gothic storytelling. The pacing, the score and the superb acting all create undeniable tension and sense of dread in the viewer that, for me, few films have ever achieved.

There are certainly more texts that I could recommend (I chose not to mention Austen’s Northanger Abbey, because everyone knows I love that book), but these are certainly the ones that I am fondest of. Lately I’ve been interested in the way in which pop culture uses Gothic aesthetics to frame masculinity, and what it is that makes it so appealing to a young female audience. I’ll be discussing the Marvel Universe’s beloved trickster Loki, but also the music videos of the hugely popular Korean boy band EXO. For a taster, check out the video to their 2016 single ‘Monster’:

If you could invite any Gothic writer, artist, musician or character to dinner, who would you choose and why?

Shocking I’m sure no one, I’d invite Jane Austen and Ann Radcliffe: to listen to them discuss books would be a dream come true. Plus that made up meeting in Becoming Jane did them both a huge disservice – I refuse to accept a meeting between the two would have been that dull. I’d invite Mervyn Peake and his wife Maeve, just to listen to their stories and peharps Sheridan Le Fanu, so we can have a frank conversation about how disturbing (but excellent) his short story Green Tea is.

Sheffield Gothic Profile Blog: Mary Going

Sheffield Gothic's penultimate instalment in our series of profile blogs features our co-organiser, Mary Going, PhD student at the University of Sheffield. Read on to explore what drew Mary to the Gothic, her favourite Gothic texts, and who she would invite to dinner. 

Introduction:

Hi, I’m Mary Going and I’m a PhD candidate in the School of English at the University of Sheffield. An interloper from ‘down South,’ I first came to Sheffield to complete my undergraduate degree in English Literature, and somehow ended up staying on to study my Master’s degree in Nineteenth Century Literature, before starting my PhD which I am currently doing part-time. You can find me on twitter at @MazGoing

What do you research?

I have always been bewitched by the Gothic, but I am also fascinated with the portrayal of religion in fiction; from religious spaces, aesthetics, and identities to religious and biblical narratives, myths, and stories that are woven into so many texts. My current research explores the depiction of Jewish characters in late-eighteenth and early-nineteenth century fiction, with a particular focus on Gothic texts. I am especially interested in the development of the Wandering Jew myth, the character of Shylock, and the vampire during this period, as well as the representation of familial relationships and Jewish identity. More broadly, I am interested in the depiction of religion as it appears in Gothic and Horror of any period, and particularly anything that lets me research vampires. I also founded the Gothic Bible project with Katie Edwards, Caroline Blyth, and Christopher Scott. Along with curating a dedicated blog series and organising talks and special reading groups, this project hosted its inaugural conference last year on Halloween. You can keep up to date by following the project on twitter at @GothicBible.  

How did you become interested in the Gothic?

Looking back, it seems that I’ve always been drawn to texts that have darker, Gothic flavours. I can remember, as a child, being terrified but also entirely captivated by Josephine Lee’s Joy is Not Herself (1962), a children’s novel that tells the story of Melisande Joy Montgomery. Melisande is a witch, and following her increasingly ominous and evil behaviour (which includes causing a near fatal accident in which her neighbour Eleanor is thrown from a horse) Melisande is exorcised, and with evil expelled ‘Melisande’ becomes Joy.

Cover for Charmed Life

Keeping with the Witch theme, I loved Jill Murphy’s Worst Witch series (who didn’t!) and while I was at primary school, I dressed up as Hermione Granger for World Book day; although, frankly, the less said about my childhood obsession with the Harry Potter series the better. Another childhood favourite was Dianna Wynn Jones’ brilliant Chrestomanci series, set in a world parallel to ours where ‘magic is as common as music is with us’ and focusing on the eponymous Chrestomanci, an enchanter and government official. I especially enjoyed Charmed Life (1977), the first in the series and which introduces Christopher ‘Cat’ Chant and the Chrestomanci title (they are enchanters with nine lives) and Witch Week (1982) which is set in another parallel world, this time one without magic, drawing on the story of Guy Fawkes and featuring the adult Cat Chant as Chrestomanci.

Later, I was captivated by Mary Shelley’s Frankenstein and Bram Stoker’s Dracula, both of which have stayed with me as two of my all-time favourites. During my undergrad I sought out as much Gothic that I could. I took Angela Wright and Helena Ifill’s fabulous second year module on the Gothic; got involved with the ‘Gothic Bites’ project (organised by Angela, Helena, and Kate Gadsby-Mace); and on hearing about the launch of a new Gothic reading group, I knew I had to attend. After the first meeting discussing Dominik Moll's Le Moine or The Monk (2011), I haven’t looked back.

What Gothic texts (including shows, films, plays, music etc.) would you recommend and why?

Ok, if you haven’t read Frankenstein or Dracula yet, then what have you been doing? These are perhaps really obvious choices, but no matter how many other books I read, I always end up coming back to these two, and the legacies of Shelley’s Creature and Stoker’s Count are still very apparent today. You can read more of my thoughts on Frankenstein, including why Danny Boyle’s 2011 stage adaptation is the best adaptation, here.

Cover for Paul Féval's Vampire City

For any fans of vampire fiction, I would definitely recommend Florence Marryat’s The Blood of the Vampire (which I have previously written about here). Published in the same year as Dracula, this novel tells the story of Harriet Brandt, an orphan who also happens to be a psychic vampire. Marryat’s vampire is a perfect contrast to Stoker’s Dracula: Harriet traces her ancestry not to Transylvania but to Jamaica, and, rather than draining the blood of her victims, she drains their life force.

Another unique but fabulous vampire novel is Paul Féval’s 1867 La Ville Vampire or Vampire City (translated by Brian Stableford). The vampires in this novel are simple amazing, and I could not do them justice at all here so you will just have to read it for yourself (although I will mention that they may glow in the dark!). However, the premise of the novel should be enough to hook any good Gothicist: the narrative begins with Ann Radcliffe (yes, that Ann Radcliffe) as she runs away with a band of vampire hunters on her wedding day to rescue her friends from the vampire lord Otto Goetzi. Yes, you read that right – this novel is essentially Ann Radcliffe fan fiction meets Buffy the Vampire Slayer, or, in other words, Ann Radcliffe the Vampire Slayer.

Speaking of Buffy, you may have noticed that I’m a bit obsessed with this show…enough to curate a dedicated Buffy the Vampire Slayer blog series in honour of the show’s twentieth anniversary in 2017. Although there are definitely conversations to be had about some aspects of the show which haven’t aged well (for example: Xander; the show’s portrayal of rape and rape culture; and of course, its creator), I still think Buffy is important in its premise: to empower the girl who, in Horror narratives, is typically killed off. Rather than being killed, or needing to be rescued, Buffy (and the Scoobies) fights back, and the show has never lost its cult status or appeal. With the recent announcement of a Buffy reboot (or is that a sequel?) along with reboots of Charmed and Sabrina the Teenage Witch coming soon as well, it’s clear that there is still a desire for female-fronted shows like Buffy – and what better time to watch (or re-watch) the original?

There are so many vampire texts that I could recommend, so I’ll finish with my favourite vampire film: Jason Krawczyk’s 2015 Horror-comedy, He Never Died. This is also a must-watch for any Henry Rollins fans, who portrays Jack, or rather, Cain (‘I’m in the Bible’), a weary vampire who has been wandering and murdering for centuries whilst being unable to die himself. Expect a lot of blood, but also a lot of humour.

I also really love Phillip Pullman's His Dark Materials series: a beautiful trilogy that is, in part, a retelling of John Milton's Paradise Lost (whic you should also read, if only for its fantastic depiction of Satan and Hell) and the biblical story of Adam and Eve. This series follows young adults Lyra Belacqua and Will Parry as they journey through various parallel universes; and in one of these worlds, Lyra's, every human is paired with their own daemon. Another YA series that I would recommend is Cassandra Clare's Mortal Instruments series which tells the story of a group of young nephilim or shadowhunters - Clary, Jace, Isabelle, and Alec - who protect the world of 'mundanes' from demons, and who draw their powers from marking, or scarring, their bodies with specific marks. Of course, one of my favourite characters in this series is Clary's best friend, Simon, who is not a shadowhunter, but an ordinary, 'mundane,' Jewish teenager who somewho becomes a vampire, then a daylighter (a vampire who can walk in the Sun), and then is marked with the First Mark, or the Mark of Cain. And this makes Simon a very interesting example of a Jewish vampire!

Speaking of Cain, I have to quickly mention one of my favourite bands, Avenged Sevenfold. Taking their name from Genesis chapter four (that's the story of Cain and Abel), this heavy metal band often blends religious narratives and Gothic or Horror aethetics into their songs, while at the centre of their artwork are skulls and bats. Their song 'Chapter Four' retells the Genesis story of Cain killing his brother Abel ('From the soil his blood cries out to me') and has become the unofficial soundtrack of my current research.

Illustration from The Monk

In terms of religious Gothic, the texts I would recommend include Matthew Lewis’s The Monk (1796), Ann Radcliffe’s The Italian (1797), and James Hogg’s Confessions of a Justified Sinner (1824). The Monk is a scandalous Gothic novel that verges on being pornographic; it was debated in Parliament, and then later bowdlerized by Lewis for being blasphemous, and features a fantastic cameo from the Wandering Jew who bears a revised version of the mark of Cain on his forehead in the form of a burning cross. Ann Radcliffe’s later novel functions as a corrective to Lewis’s, but is equally as enjoyable with its own immoral monk and type-scenes of the Inquisition. Hogg’s novel is of a different cast, and perhaps too complicated to describe in this post (you can read more about it here), but I will just say that it may or may not feature the devil – and it’s up to you the reader to decide.

Finally, I have to recommend Syd Moore’s fabulous Essex Witch Museum Mysteries. I posted a blog about Moore’s novel earlier this week, but if witches, Essex Girls, and unapologetic feminism are your thing you should definitely read this series!

If you could invite any Gothic writer, artist, musician or character to dinner, who would you choose and why?

I would invite Mary Shelley’s Creature and Bram Stoker’s Dracula to dinner because I think it would be fun to show them their numerous reincarnations and hear their thoughts on the versions of themselves. I would also invite Buffy and the Scoobies (although maybe not Xander…) because, let’s face it, of course I would! Not only do I think they would be excellent dinner guests, with the fabulous Giles (everyone's favourite librarian) keeping everything in check, but the gang would be able to make sure that Dracula (Stoker’s Dracula, not the version from ‘Buffy Versus Dracula’, Buffy S5E01!) was well-behaved.

The Only Way Is Witchcraft

Thou shalt not suffer a witch to live (Exodus  22:18)

Blonde, dumb, easy, sleeps around, drunk every night, is known for being a slut, stupid, cheap, hair tight to head etc. (Urban dictionary)

It’s my theory that, despite memories of the witch hunts fading, the reputation of the county’s women never really recovered, which is why, when the Essex girl reared her flossy blonde head she was taken up so quickly and decisively. (Syd Moore, ‘Were women accused of witchcraft the first Essex Girls?’)

Welcome to Witch County. Prepare to rethink everything you know about the stereotypical witch (and the stereotypical Essex girl). And remember: The Only Way Is Witchcraft. Revising the traditional ghost story, Syd Moore’s novels bring supernatural mysteries into the twenty-first century, putting the figure of the witch - and at the same time that of the Essex girl - at their heart. Moore’s novels are the perfect blend of Gothic and unapologetic feminism: and trust me, once you start reading them you won’t be able to put them down. 

But first, let me explain why I am so bewitched by these novels, and I’ll start with a confession: I am an Essex girl. Although relatively new, the Essex girl stereotype has been around for a few decades -  and if you're not sure what an 'Essex Girl' is, watch the above video from 1991 for a fairly accurate representation of this stereotype. Sure, I might not always sound ‘Essex’ (my mum is from London you know); I don’t wear white stiletto heels (being 5 foot, you may have noticed I do wear a lot of heels, but mainly of the black variety); and I’ve swapped the orange, baked, fake tan for a pale complexion more befitting a vampire. Also, while we’re here, no I don’t know anyone from TOWIE and no, we don’t all hang out at the Sugar Hut (FYI - Essex is a very big county). But that exactly the point - stereotypes aren’t accurate, and whether we choose to wear stilettos or not, or choose to be tanned or pasty, there is more to every Essex girl than the dumb, blonde stereotype. So, to summarise, I may not fit the stereotype, but this is what an Essex girl looks like.

(Thurrock heritage sign marking Dracula connection)

And even though I’m up in Sheffield researching the Gothic, I haven’t left Essex behind. Vampires have cropped up in my research a few times, and, when I say vampires, that includes the Count himself. Which is perfect for me, because not only is Dracula one of my favourite novels, but I especially enjoy reading the parts set in Purfleet, Essex (for those not as obsessed with Dracula as I am, that’s where Dr Seward’s Lunatic Asylum and Dracula’s Carfax house are situated). I can even remember visiting a local Purfleet museum, and turning into a hidden corned who should I find myself face-to-face with but the infamous Count Dracula! Ok, disclaimer: it was only a coffin surrounded by Dracula posters, but still, it marked a pretty important piece of Essex’s Gothic heritage. And I would be lying to say that I’m not thinking of the Count every time I pass Purfleet station on my journeys to and from Essex and Sheffield. 

(This image captures the importance of trains within Dracula) 

I never pretend that I’m from London as some of my friends have done, because I love where I’m from (although I’m also proud of my ties to London’s East End, but that’s a story for another time). And that’s why, when I walked into my local Essex book store and saw a book with a gorgeous skull on its cover, a playful tagline declaring that ‘The Only Way is Witchcraft,' and blurb that mentioned the ‘Essex Witch Museum’, I knew I had to read it. 

That book was Strange Magic, the first in Moore’s Essex Witch Museum Mysteries series where she links the historical stereotype of the Witch and the contemporary stereotype of the Essex Girl and questions the accuracy of them both:

‘The Essex girl threatens because she is attractive. That’s why she’s put into, a box, a stereotype, in the first place. So she can be controlled. And disempowered.’

‘Like women accused of witchcraft.’

‘Also controlled. Also disempowered by their label.’ 

(Strange Magic, 2017)

In the age of the Me Too movement, and as cries of a ‘Witch Hunt’ are inauthentically uttered (here is looking at you, Trump), it is important to remember that historical Witch Hunts, and the creation and perpetuation of stereotypes such as the Witch and the Essex girl, function to control, disempower, and silence women. The Me Too movement has proved powerful in empowering women and other disempowered individuals, giving them back, to some extent, control and their own voices. And this is exactly what Moore does through all of her novels, too. Reclaiming the narratives and identities of witches throughout history and that of the recent Essex girl, Moore’s novels are, simply, bewitching.

The Drowning Pool (2011)

Moore’s debut novel tells the story of Sarah Grey, a widow relocating to Leigh-on-Sea with her son Alfie after the death of her husband; expecting to rebuild her life, Sarah and Alfie are soon targeted by several hauntings, including eerie encounters with ‘the burning girl.’ The novel begins with a drunken séance, after which the hauntings begin. Sarah is especially targeted by a ghost who turns out to be her namesake, delving into local Essex legends that mark the nineteenth century Sarah Grey as a witch and therefore evil incarnate. This story is a great introduction to Moore’s expert juxtaposition of the historical witch stereotype and contemporary stereotypes of women, and especially the Essex girl stereotype. It also beautifully ties the fictional ghost of Sarah Grey to local Essex histories as Moore’s witch is based on the legends of Sarah Moore, Leigh’s very own sea-witch.

Witch Hunt (2012)

(Colchester Castle)

Delving deeper into the myths and legend of witches, Moore’s second novel explores the infamous Witch-Finder General, Matthew Hopkins, as well as drawing inspiration from the legends of his female victims accused of witchcraft such as Rebecca West. The novel’s protagonist, journalist Sadie Asquith, emulates Moore in her desire to research historical witches, acknowledge connections between the witch and the Essex girl stereotype, and also claim back these narratives for women. As Sadie investigates the ‘dark past of the Essex witch hunts,’ she soon experiences strange visions and hauntings. These include a very chilling episode during a visit to Colchester castle where Sadie is accidentally locked in one of its cells: yes, the very ones in which women accused of witchcraft would have been detained in during Matthew Hopkins reign. If that isn’t enough for you, Moore also weaves into her story a brilliant, though fictional, twist regarding the fate of Matthew Hopkins - which you will just have to read to find out! 

The Essex Witch Museum Mysteries

#1 Strange Magic (2017)

#2 Strange Sight (2017)

#3 Strange Fascination (2018)

Not only does the The Essex Witch Museum Mysteries Series have the best books covers, but they are simply fabulous stories. From the moment I read the first book, Strange Magic, I was hooked: the story opens with an eerie prologue detailing the demonic possession of a small boy by the ghost of a child from the era of witch hunts, and anyone who knows me will know that I find demonic possession stories terrifying (and no, I still won’t rewatch The Exorcist). Luckily, the book introduces its feisty protagonist, Essex girl Rosie Strange who has just inherited the Essex Witch museum from her grandfather, Septimus Strange. Skeptical about witches, ghosts and magic, and initially planning to tear down the museum (a museum that is, by the way, designed to look like a skull), Rosie ends up on a embroiled in a mysterious hunt with the museum’s curator, PhD student (who’s dissertation is on, you guessed it, witches) Sam Stone, who Rosie humorously oscillates between finding extremely irritating or attractively captivating. Teaming up, Rosie and Sam embark on a journey to find the bones of the Essex witch from St. Osyth, Ursula Cadence, in order to save the possessed boy. Along the way, Rosie is visited by the ghost of Ursula herself - or, surely not, because ghosts and witches aren’t real, are they? 

(Skeleton of a witch, believed to be Ursula Cadence or Kempe, found at St Osyth, Essex)

Moore’s wit makes Rosie and Sam one of the best literary detective duos, and trust me when I say that you will want to follow their relationship and their investigations throughout this series. The second book, Strange Sight, introduces a paranormal lockdown situation where the pair investigate the apparent haunting of an East End restaurant (did I mention that half of my family is from the East End?) while Strange Fascination explores the mysteries of a centuries-old boulder in the fiction Adder’s Fork, home to the Essex Witch Museum, as it is moved by developers. The boulder is said to mark the grave of a witch and is based of the legends of Ann Hewghes who lived in the village of Great Leighs, Essex where she was accused of witchcraft and burned at the stake, her remains buried under the boulder.

Throughout this series, Moore stylishly offers a commentary on the witch and Essex girl stereotypes. If you like Gothic tales of witches full of hauntings, magic, wit, and plenty of unashamed feminism, then this series is for you. And, like The Drowning Pool and Witch Hunt, Moore brilliantly ties her stories to the histories, myths, and locales of Essex while revisiting the stories of the counties many victims of historical witch hunts. 

Think you know witches? Think you know Essex girls? Think again.

Mary Going is a PhD researcher at the University of Sheffield exploring exploring depictions of Jewish characters, myths and legends - such as Shylock, vampires, and the Wandering Jew - in late-eighteenth and early-nineteenth century literature. She is co co-organiser of Sheffield Gothic and the Gothic Bible project, as well as being Sheffield Gothic's current Vampire Slayer, and keeping with the Witch theme of this blog Mary recommends the Buffy episode 'Gingerbread' (E11 S03) as a must watch. You can also find her on twitter: @MazGoing. 

Sheffield Gothic Profile Blog: Carly Stevenson

Sheffield Gothic's next instalment in our series of profile blog features Carly Stevenson, PhD student at the University of Sheffield. Read on to find out what drew Carly to the Gothic, her favourite Gothic texts, and who she would invite to dinner!

Introduction:

My name is Carly Stevenson and I am a PhD student in the School of English at the University of Sheffield. Prior to embarking on the PhD programme, I completed my Masters and BA (Hons) in English at the University of Lincoln. I currently work as a sessional tutor for the Worker’s Education Association (WEA) and I have been a member of Sheffield Gothic since 2013.

What do you research?

My research examines the influence of Gothic Literature on John Keats. In particular, I am interested in the ways in which Keats’s engagement with the Gothic interacts with the language of medicine in his poetry. My first chapter explores uncanny images of severed, reanimated and dead hands in a selection of Keats’s poetry and letters. My second chapter focuses on the ‘femme fatale’ figures in Keats’s ‘vampire poems’: Lamia and ‘La belle dame sans merci’.

How did you become interested in the Gothic?

To an extent, the Gothic has always been a part of my identity. Like many children, I grew up reading the fairy tales / folk stories of Hans Christian Anderson and the Brothers Grimm, which set me off on my trajectory towards macabre interests. During my adolescence, I devoured Point Horror novels and subscribed to a magazine that printed abridged versions of classic Gothic tales, before progressing to more sophisticated works, such as Stephen King’s Misery, V. C. Andrews’ Flowers in the Attic and Bram Stoker’s Dracula. In my teens, I discovered John Carpenter’s Halloween and Wes Craven’s A Nightmare on Elm Street, which cemented my love for horror cinema. Around the same time, I also went through a Buffy the Vampire Slayer phase and developed a mild obsession with Tim Burton’s films. My academic interest in the Gothic began when I opted to study a Gothic module in the second year of my undergraduate degree, though a previous module on Victorian literature had already sowed the seeds. During my Masters year, I completed a module on ghost stories and wrote my dissertation on Shakespeare’s Gothic inheritance in Keats’s poetry. From there, I decided to turn my interest in Keats’s relationship with the Gothic into a PhD proposal, which brought me to Sheffield.

(Ben Whishaw as Keats in the biopic Bright Star, dir Jane Campion)

What Gothic texts (including shows, films, plays, music etc.) would you recommend and why?

Aside from everything I’ve already mentioned, I’d recommend Wide Sargasso Sea by Jean Rhys, which is a feminist and anti-colonial response to Jane Eyre set mostly in the West Indies. Wide Sargasso Sea is a great read because it addresses the darkest, unanswered questions that arise from Brontë’s novel and gives the liminal character of Antoinette ‘Bertha’ Mason a voice.  The subversive centring of the ‘other’ in Rhys’ story prompts a reappraisal of Jane Eyre and its heroine, who is complicit in the imprisonment and dehumanisation of ‘the first Mrs Rochester’. Rhys is an excellent writer, whose sumptuous prose brings settings and characters vividly to life. Wide Sargasso Sea could be described as an example of Caribbean Gothic or Tropical Gothic, wherein the ruins and haunted castles of the European Gothic tradition are replaced with sultry forests filled with monstrous hothouse flowers. The landscape may be different, but patriarchal tyranny remains.

My film recommendation has to be Jim Jarmusch’s Only Lovers Left Alive because it is such a gorgeous piece of cinema, not least of all because it stars Tom Hiddleston and Tilda Swinton. Adam and Eve are a worldly, artistic vampire couple who live half the world apart from each other, in Detroit and Tangier respectively. Adam is a reclusive musician who, depressed by modern life, considers suicide, prompting Eve to take an impromptu night flight to his dilapidated, Victorian home in an attempt to restore his faith in humanity. Only Lovers Left Alive portrays its vampires as addicts who are dependent on local suppliers due to the fear of contamination and exposure. Adam’s source is the local blood bank, while back in Tangier, Eve gets her O negative from Christopher Marlowe – yes, the Christopher Marlowe - who is not only a vampire, but the unacknowledged writer of Shakespeare’s body of work. Jarmusch is clearly aware, as we all are, that the vampire-as-junkie trope has been done before, which is why he injects a healthy dose of humour into these morose dealings. When Adam visits the hospital for his fix, he sports name badges reading Dr Faustus and Dr Polidori. Only Lovers Left Alive is a languid, elegiac mood piece that packs in an impressive amount of literary references and has a great soundtrack to boot.

If you could invite any Gothic writer, artist, musician or character to dinner, who would you choose and why?

This is an easy one. I’d invite everyone who attended the infamous ghost story competition at the Villa Diodati in the summer of 1816, plus Keats. I think Keats and Polidori would bond over their experiences in the medical profession.