Why has the Gothic been of particular significance to queer culture?

by Hannah Dwyer

  Historically, the Gothic has “focused on non-normative forms of sexuality traditionally perceived as transgressive and taboo”[1] as well as articulating “individual and collective anxieties and fears”[2]over one’s desires; especially sexual desires. In fact, the Gothic genre might be the “only narrative form which allows the author to question normative social ideals and their boundaries, specifically linked to sexuality and gender identities.”[3] However, it must be noted that Gothic fiction is not simply about homo and/or hetero-sexual desire and more about the fact of desire itself. This is because Gothic (like Queer studies) is transgressive and confrontation to dominant ideology through the of power or a resistance to said power. Transgression is a key notion in both Gothic and Queer studies as both explore the both restrictive and liberating prospect of forbidden desire. Rigby notes that “Queer and Gothic Studies may be considered complementary fields of inquiry”[4] but it has to be remembered that “that the Gothic is always already queer; queer theory is also always already Gothic.”[5]Due to criminalization of indecent relationships between males, under the Criminal Law Amendment Act in 1885, the Gothic has an important role in enabling of “queer critical narratives, being a genre that persistently explores the meaning of queerness”[6] Furthermore, the Gothic genre can be understood to “operate in a similar manner to the Freudian ego”[7] and often “staged uncanny, queer dilemmas and desires that were turned into phantasmatic, albeit vivid, supernatural figures.”[8] How the Queer Gothic explored the uncanny when the “texts bring to light something that ought to be repressed, something that feels particularly pertinent to people whose identities, bodies, and desires have been culturally designated ‘queer’.”[9] The two texts that I will be discussing how Gothic is significant to queer culture in this essay is Horace Walpole’s ‘The Castle of Otranto’ (first published in 1764) and Jeanette Winterson’s ‘The Daylight Gate’ (first published in 2012).

 Walpole’s ‘The Castle of Otranto’ is regarded as the first English gothic novel with its purpose to “blend the two kinds of romance, the ancient and the modern”[10] in its inversion of Romantic fiction.  The novel explores a “darker, more sinister form of sexuality”[11] caused by repressed desires. “The buried life of irrational fears and desires”[12] is common trope in Gothic fiction; from its ‘birth’, the genre “has been associated with the unconscious mind and the compulsion to articulate what is ‘unspeakable’ or repressed.”[13] It can be argued that in Walpole’s novel what is being repressed is underlying homosexual desires that pushes the story along. The “construct of the closet”[14] (or thereby hiding in the metaphorical closet) allowed Walpole to “flirt with fantasies of erotic self-actualization through masculine violation that could easily, if acted out in real life, have led to the ruin of his reputation.”[15]This is done through the expression of an underlining sentiment of homosexual panic with the main character, Manfred. Even the castle itself is an “intensely claustrophobic in its setting and entirely unrelenting in its passion”[16] which can be interpreted as a representation of the suffocating sensation of hiding ones sexuality. When there is no physical or mental signs to differentiate between the homosexual and the heterosexual (or anything in between), this makes the “boundary between their sexualities is permeable;”[17] which triggers “heterosexual fears”[18] in those most concerned with their masculinity identity. “Walpole’s own perception of his masculinity”[19] and his own “contemporary fears about class and effeminacy”[20] is mirrored in Manfred’s concern with securing an heir. The novel starts with Manfred’s son Conrad, who is of “homely youth, sickly, and of no promising disposition”[21]with no real hope of successfully carrying on the name, is killed at the start of the story. It could be suggested that due to Manfred’s secret homosexual anxiety was the reason for Conrad’s state of ill health. Also, moments after the death of his own son, Manfred aggressively pursues Isabella, his deceased son’s fiancé, in order to secure and legatee as “the welfare of the state depends on your highness having a son.”[22] It can be considered that Manfred’s wrongful and insistent pursuit of Isabella is a result of Manfred’s fear that his masculinity would be put into question if he is unable to produce a strong male successor. Furthermore, Manfred’s extensive fear and anger towards everyone can be derived from the “prospect of being outed.”[23] This “implicitly threatened mortification of identity may result in ‘homosexual panic’”[24] when the “feminine and masculine aspects that comprise the fabricated self, along with the desired and actual sexual identities, battle one another.”[25]Additionally, hidden homosexual feelings in Walpole’s ‘The Castle of Otranto’ can be seen in the appearance of “fetishize sexual practices”[26] of “phallocentric values”[27] and images of “fragmented limbs and body parts.”[28] For example, the “enormous helmet, an hundred times more large than any casque ever made for human being”[29] that crushes Manfred’s son. The phallic image of male body parts specifically can be seen as oppressing feelings of overwhelming fear of male presences that is looming over Manfred. In fact, the fact that Manfred’s son is “destroyed by a masculine symbol, a military helmet”[30] is a possible “dissension in the relationship between father and son”[31] as well as “internalized homophobia in the fear of femininity lurking within the male subject.”[32] Overall, ‘The Castle of Otranto’ is considered to be significant to Queer culture due to how it portrays the true fear of homosexual desires, and the fear of prosecution from society, felt by men who battled with their sexuality at the time of publication of the novel and even in todays society.

 Conversely, in Jeanette Winterson’s ‘The Daylight Gate’, the focus is on the female homosexuality. When the Criminal Law Amendment Act in 1885 (that outlawed relations between men) was put into practice in England, the thought of females indulging in same sex relations was never considered. Queen Victoria herself believed that women were not capable of such an act; though we know that this is not true. Female homosexuality in Winterson’s novel is presented as power and a resistance to the dominant patriarchy. The use of a witch in Gothic literature is a great way to demonstrate female power and opposition to patriarchy being that they are generally woman, who do not conform to ‘customary’ societal norms and rely on men. However, because of this, witches were both feared and demonised; especially by men. “In the Gothic setting of The Daylight Gate, queer desire is a space of resistance to heteronormative, patriarchal power.”[33] Witches “provide a source of inspiration for writers today, carrying radical feminist connotations of female empowerment, marriage resistance and women’s community.”[34] The novel uses the 400th anniversary Lancashire Witchcraft Trail, which is the first witch trail to be documented, where patriarchal power enabled the control and abuse of women. King James 1st “had two passions: to rid his new crowned kingdom of popery and witchcraft”[35] and in his book ‘Demonologie’ (published in 1597) gave allowance to men to commit countless horrific crimes to women as “thou shalt not suffer a witch to live”[36]. For example, how Tom Peeper in ‘The Daylight Gate’ was “quick”[37] in raping Sarah Device and Jennet Device as he “was in practice.”[38] In contrast, Alice Nutter is the challenger to this patriarchal power; she questions Peeper’s behaviour by asking “What man that is a man would do this to a woman?”[39] The rhetorical question used by Alice  is to “dismantle the very system of power that Peeper and the Constable evoke to justify their physical abuse.”[40] Alice’s magical power is seen more in the way she is able to reduce Peeper and the Constable to “powerless silence;”[41] as the idea of a woman being able to make a man silent at that time is significant in its own right, in consideration of the time period the novel is set in, regardless of the fact whether Alice is a witch or not. Additionally,  “The men exploit the fact that she has been accused of witchcraft as a justification of their attack”[42] but they also “encourage a passing young boy to participate in the sexual assault;”[43]this passes the acceptance and normalises abuse against woman from one generation to the next. Consequently, though witches can be a symbol of female empowerment it can be debated that they were more likely to experience abuse from the heteronormative patriarchy because they dare to challenge it.  Alice also argues for the woman accused of witchcraft by explaining that:

 “Such woman are poor. They are ignorant. They have no power in your world, so they must get what power they can in theirs. I have sympathy for them.”[44]

In some ways this is an example of female empowerment against the patriarchy by pointing out the injustice against women by the patriarchy through the abuse of power. However, it also underlines how little power these women actually have as they are constantly abused by the men around them. Still, Alice Nutter, who is most likely to be a witch in the story, is different to the other women due to her position in society; she has money, land and status unlike the other women in the story. Yet,  “Alice’s wealth, intelligence and independent nature make her an object of suspicion for the local Lancashire men.”[45] The ‘witches’ in this novel are a representation of transgressive opposition to heteronormative power which is why it is important to queer culture as that too is seen as going against the ‘norm’.

 Furthermore, the “homosexual and lesbian, as constructed in homophobic discourse, reveal connections with the monstrous”[46] as well as “wicked’ characters and exorcizing ghosts.”[47]The supernatural represent Freudian ego regaining “supremacy over the unconscious mind or id.”[48]

Additionally,  Winterson’s novel is dominated by “repressive socio-cultural relations founded on sexual taboos, such as incest and same-sex desire”[49] and in doing so revealing hidden tensions between “the acceptable and the familiar (Heimlich) and unfamiliar repressed fears and anxieties (Unheimlich).”[50] This is seen through the sexual  relationship between Alice Nutter and Elizabeth Southern as it is believed that female relationships causes a disruptive influence on the male homosocial order. Alice’s and Elizabeth’s relationship “explicit the queerness inherent in the Gothic by tying it to a queer love triangle between two women and a man.”[51] Chris Southworth is the male third wheel in Alice’s and Elizabeth’s relationship; as he watches the past ghosts of  Alice and Elizabeth that were “dancing together”[52] in a room that is “pretty and vital”[53] with life of “flowers”[54] but once he “jumped into the room, it was empty.”[55]This could suggest that the introduction of male identity in a female relationship causes it to not exists or that it is unable  to exist with any male energy near it. It’s interesting as it echoes the idea that heteronormative ideas repress female sexuality.

 Finally, a witch lives and “independent life-style”[56] as she “advises women to strive to achieve space, both psychological and geographical;”[57] this could either be to “establish a lesbian feminist community”[58] or for women to “pursue their dreams unimpeded by male control.”[59]Moreover, the witch contradicts the female “entrapment in the domestic sphere of the home,”[60] as well as  “her problematic relationship with her body, and (especially relevant to lesbian writers and readers) female sexuality and relationships.”[61] Alice describes how the year she spent with Elizabeth in a homosexual relationship was the “happiest year”[62] of her life. They “lived as lovers, sharing one bed and one body”[63] as they owned their sexuality as well as their independence from heteronormative lifestyle. This is important to queer culture as it is a representation of a queer relationship which isn’t always openly expressed in literature.

Furthermore, any woman who refuses to endure the “symbolic emasculation that Western society demands of its female members”[64] and desires “another woman has always set herself apart (if only by default) as outlaw and troublemaker.”[65]This is why the image of the witch in gothic is important to Queer culture as they symbolise a power break from heteronormative patriarchy that dominates society. 

In conclusion, the “unspeakable”[66]in Gothic can mean different things. Anything can be unspeakable if “the individual lacks knowledge of it, because the knowledge is repressed, or because, though having access to it, s/he dare not admit the fact.”[67]This is applicable to both the Gothic Literature as well as Queer literature and culture. Furthermore, Gothic fiction is able to reach to some “undefinable world beyond fictional reality”[68]as it explores psychology of sexuality. The Gothic is “historical model of queer theory and politics”[69] the use of “transgressive, sexually coded, and resistant to dominant ideology;”[70] this is why “gothic fiction remains as queer as it is.”[71] In Walpole’s novel ‘The Castle of Otranto’ we experience the horrific effects of homosexual panic in a character that has toxic masculinity overshadowing him constantly; Manfred feels pressured to secure his own masculine identity by going to extreme lengths to secure an heir. Whereas, in Winterson’s novel ‘The Daylight gate’ we the reader experience how female homosexuality resists heteronormative relationships and abusive patriarchal power. “Issues of sexuality have become more prevalent, specifically those regarding homosexuality”[72] in today’s culture as society is becoming more divided on all topics of life. Which is why any form art or literature that supports or even expresses Queer ideas acknowledges the culture that has always been prosecuted by society. Both Walpole and Winterson were able to explore the homosexual desires in their work with the safety literary protection through Gothic technique which is why Gothic is important to Queer culture.

Bibliography

Primary Texts

·      Walpole, Horace. ‘The Castle of Otranto: a Gothic Story’ Introduction, Oxford Paperbacks,

·      Winterson, Jeanette. (2012) The Daylight Gate. Random House, Ealing, London,

Student Blogs

·      Gibson, Anna (2019) http://blogs.brighton.ac.uk/ll625sampleblog/2018/12/11/thou-shalt-not-suffer-a-witch-to-live-who-were-the-real-lancashire-witches/

·      Taylor-Mungai, Eve (2019)  http://blogs.brighton.ac.uk/ll625sampleblog/2018/12/11/complicated-desires-on-horace-walpoles-the-castle-of-otranto/

·      Schiltz, Corinne (2019) http://blogs.brighton.ac.uk/ll625sampleblog/2018/12/13/what-is-lesbian-gothic/

Secondary Text

·      Antosa, Silvia (2015) 'In a Queer Gothic Space and Time: Love Triangles in Jeanette Winterson's the Daylight Gate', Altre Modernità, vol. 13/,

·      Clemit, Pamela. (1988) 'Sedgwick, Eve Kosofsky. the Coherence of Gothic Conventions', Notes and Queries, vol. 35/no. 2,

·      Janes, Dominic (2015)  ‘Picturing the closet: male secrecy and homosexual visibility in Britain’ Oxford University Press, USA,

·      Fincher Max, (2001)  'Guessing the Mould: Homosocial Sins and Identity in Horace Walpole's the Castle of Otranto', Gothic Studies, vol. 3/no. 3,

·      Haggerty, George E (2006) ‘Queer gothic’. University of Illinois Press, USA

·      Horton, Joshua, T (2018) 'Panic on the Streets of London: Masculine Identity and Homosexual Panic in Neil Gaiman's 'how to Talk to Girls at Parties'', Midwest Quarterly, vol. 59/no. 2,

·      Rigby, M.(2009) ‘Uncanny Recognition: Queer Theory's Debt to the Gothic', Gothic Studies, vol. 11/no. 1,

·      Palmer, Paulina (2004) 'Lesbian Gothic: Genre, Transformation, Transgression', Gothic Studies, vol. 6/no. 1, University of Warwick, UK

·      Palmer, Paulina. (2012) 'The Queer Uncanny’: New Perspectives on the Gothic', Anonymous Translator, Cardiff, University of Wales Press,

·      Palmer, Paulina (2016) 'Queering Contemporary Gothic Narrative 1970-2012', Anonymous Translator(, Basingstoke, Palgrave Macmillan,

·      Parker, Sarah (2008) "‘The Darkness is the Closet in Which Your Lover Roosts Her Heart’: Lesbians, Desire and the Gothic Genre." Journal of International Women's Studies 9, no. 2

[1]Antosa, Silvia (2015) 'In a Queer Gothic Space and Time: Love Triangles in Jeanette Winterson's the Daylight Gate', Altre Modernità, vol. 13/, P.155

[2] Ibid, Antosa, Silvia P.155

[3]  Schiltz, Corinne (2019) http://blogs.brighton.ac.uk/ll625sampleblog/2018/12/13/what-is-lesbian-gothic/

[4] Rigby, M.(2009) ‘Uncanny Recognition: Queer Theory's Debt to the Gothic', Gothic Studies, vol. 11/no. 1, P.46

[5] Ibid Rigby, M P.46

[6] Ibid, Rigby, M. P.46

[7] Parker, Sarah (2008) "‘The Darkness is the Closet in Which Your Lover Roosts Her Heart’: Lesbians, Desire and the Gothic Genre." Journal of International Women's Studies 9, no. 2 P.8

[8] Ibid, Antosa, Silvia P.153

[9] Rigby, Mair (2009) 'Uncanny Recognition: Queer Theory's Debt to the Gothic', Gothic Studies, vol. 11/no. 1, P.48

[10]  Taylor-Mungai, Eve (2019)  http://blogs.brighton.ac.uk/ll625sampleblog/2018/12/11/complicated-desires-on-horace-walpoles-the-castle-of-otranto/

[11] Ibid, Taylor-Mungai, Eve  

[12]Clemit, Pamela. (1988) 'Sedgwick, Eve Kosofsky. the Coherence of Gothic Conventions', Notes and Queries, vol. 35/no. 2, P.248

[13] Ibid, Parker, Sarah  P. 7

[14] Janes, Dominic (2015)  ‘Picturing the closet: male secrecy and homosexual visibility in Britain’ Oxford University Press, USA, P.479

[15] Ibid, Janes Domic P.479

[16] Walpole, Horace. ‘The Castle of Otranto: a Gothic Story’ Introduction, Oxford Paperbacks, UK P. xxiv

[17] Ibid, Palmer 'The Queer Uncanny’ P.16

[18]  Ibid, Palmer 'The Queer Uncanny’ P.16

[19] Fincher Max, (2001)  'Guessing the Mould: Homosocial Sins and Identity in Horace Walpole's the Castle of Otranto', Gothic Studies, vol. 3/no. 3, P.231

[20] Ibid, Max Fincher P.231

[21] Ibid, Walpole P. 17

[22] Ibid, Walpole P. 46

[23] Ibid, Max Fincher P.231

[24] Ibid, Horton, Joshua, T P.218

[25] Ibid, Horton, Joshua, T P.218

[26] Palmer, Paulina. (2012) 'The Queer Uncanny’: New Perspectives on the Gothic', Anonymous Translator, Cardiff, University of Wales Press, P.18

[27] Ibid, Palmer 'The Queer Uncanny’ P.18

[28] Ibid, Palmer 'The Queer Uncanny’ P.18

[29] Ibid, Walpole P.18

[30] Ibid, Max Fincher P.237

[31] Ibid, Max Fincher P.237

[32] Ibid, Max Fincher P.237

[33] Ibid, Antosa, Silvia P.155

[34] Palmer, Paulina (2016) 'Queering Contemporary Gothic Narrative 1970-2012', Anonymous Translator(, Basingstoke, Palgrave Macmillan,P.122

[35]Winterson, Jeanette. (2012) The Daylight Gate. Random House, Ealing, London, UK  P.7

[36] Gibson, Anna (2019) http://blogs.brighton.ac.uk/ll625sampleblog/2018/12/11/thou-shalt-not-suffer-a-witch-to-live-who-were-the-real-lancashire-witches/

[37] Ibid, Winterson P.12

[38] Ibid, Winterson P.12

[39]Ibid, Winterson P.15

[40] Ibid, Antosa, Silvia P.159

[41] Ibid, Antosa, Silvia P.159

[42] Ibid, Antosa, Silvia P.159

[43] Ibid, Antosa, Silvia P.159

[44] Ibid, Winterson P.55

[45] Ibid, Antosa, Silvia. P.57

[46] Ibid, Palmer'The Queer Uncanny’ P.152

[47] Ibid, Parker, Sarah P. 8

[48] Ibid, Parker, Sarah P.8

[49] Ibid, Antosa, Silvia P.155

[50] Ibid, Antosa, Silvia P.155

[51]Ibid, Antosa, Silvia P.154

[52] Ibid, Winterson P.198

[53] Ibid, Winterson P.198

[54] Ibid, Winterson P.198

[55] Ibid, Winterson P.198

[56]Palmer, Paulina (2004) 'Lesbian Gothic: Genre, Transformation, Transgression', Gothic Studies, vol. 6/no. 1, University of Warwick, UK P.121

[57] Ibid, Palmer, Paulina P.121

[58]Ibid, Palmer, Paulina P.121

[59]Ibid, Palmer, Paulina P.121

[60]Ibid, Palmer, Paulina P.119

[61]Ibid, Palmer, Paulina P.119

[62] Ibid, Winterson P.68

[63] Ibid, Winterson P.68

[64] Ibid, Parker, Sarah P.6

[65]Ibid, Parker, Sarah P.6

[66]Ibid, Palmer, Paulina P.120

[67] Ibid, Palmer, Paulina P.120

[68]Haggerty, George E (2006) ‘Queer gothic’. University of Illinois Press, USA P.436

[69]Ibid, Haggerty, George E P.437

[70]Ibid, Haggerty, George E P.437

[71] Ibid, Haggerty, George E P.436

[72] Ibid, Horton, Joshua, T P.217