Somebody's Trying to Kill Me and I Think It's My Husband: The Modern Gothic
Somebody's Trying to Kill Me and I Think It's My Husband: The Modern Gothic
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有人想杀我，我认为是我丈夫：现代哥特式
DOI：
10.1111/j.0022-3840.1973.00666.x
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发表时间：
1973
期刊：
影响因子：
--
通讯作者：
J. Russ
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文献类型：
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作者：
J. Russ
（1 vl 有人试图杀了我，我认为这是我的丈夫：乔安娜·拉斯的现代哥特式美国女性读的帽子小说？W~~上帝知道。当被追问时，她咕哝着女士的；II光头，时尚杂志，畅销书等等，但如果你认真祈祷并补充说你想了解VA！'^女性专用的阅读，她终于心软并递给你三本类型：忏悔杂志、护士小说以及现代哥特式书籍。无论在哪里出售平装书，你都会发现这些书的封面似乎是从同一个克隆演变而来的：配色方案主要是蓝色或绿色，前景中有一个受惊的年轻女子，背景是一座豪宅、城堡或一扇窗户亮着的大房子，通常有月亮，风暴，或两者兼而有之，无论发生什么，这些都是现代的。如果你仔细看看封面，你会发现这些故事与“哥特式”的文学定义毫无相似之处。它们与蒙克·刘易斯或拉德克利夫夫人的作品无关，他们的真正后代今天被称为“现代哥特式”，相反，它们是简·爱和达芙妮·杜毛里埃的丽贝卡的混合体，其中大多数都标榜自己是“杜毛里埃传统”。丽贝卡的哥特式传统，”等等。据版权所有 (c) 2004 ProQuest 信息和学习公司版权所有 (c) 大众出版社 Ace Books 的现代哥特式前编辑特里·卡尔 (Terry Carr) 所说，他们在这个国家的历史：开始于 20 世纪 60 年代初期......但是这样的书一直在特别是在英格兰写成，在那里它们被称为浪漫......从大约 1950 年开始；在那里它们从来都不是大事，只是稳定的它始于艾斯。[艾斯]买了一些维多利亚·霍尔特和菲利斯·A·惠特尼的小说。他们卖得很好……[艾斯]在这里继续并扩大了哥特式小说的范围，特别是购买了多萝西·伊登和安妮·梅伯里的早期小说的版权……这两位作家现在都是畅销作家。*现代哥特式小说与护士小说和忏悔杂志不同，是由中产阶级女性或有中产阶级抱负的女性阅读的。英国女性写的书仍然是最受欢迎的，至少在 1970 年，我请特里·卡尔向我提供一些他们最畅销和最畅销的书；根据卡尔先生的说法，它们“代表了该领域的较高水平”，而且所有这些书似乎都是早期作品的重印版（一本早在 1953 年）。此外，根据卡尔先生的说法：基本的吸引力……是对那些嫁给男人然后开始发现自己的丈夫的女人来说。陌生人……所以同时存在着吸引/排斥、爱/恐惧。大多数“纯洁”的哥特人往往有一个英俊、有魅力的追求者或丈夫，他们可能是疯子和/或杀人犯，也可能不是……美国女性仍然会发现她们害怕自己的丈夫。**以下是元素：来到一座大、孤独、通常沉思的房子（总是有名字的）里，出现了一位年轻、孤儿、无人爱、孤独的女主人公。她很害羞，缺乏经验，有时甚至很漂亮，但她不知道这一点。有时她花了十年时间照顾一位垂死的母亲；有时她有（或曾经有）一个邪恶的继母，一个坏姨妈，一个要求严格且自私的母亲（通常是在1970年11月18日的通信中去世的）。惠特尼，1966 年。艾斯提供的书籍有：玛格丽特·萨默顿 (Margaret Summerton) 的《正午的夜莺》(Nightingale at Noon)，1962 年；海伦·阿尔沃宁 (Helen Arvonen) 的《黑暗海岸》(The Dark Shore)，1970 年；苏珊·霍瓦奇 (Susan Howatch) 的《黑暗海岸》，1965 年。
(1 vl Somebody's Trying to Kill Me and I Think It's My Husband: The Modern Gothic By Joanna Russ hat fiction do American women read?? W~~ God knows. When pressed, She mumbles about ladies'; II slicks, fashion magazines, best-sellers, et\'al., but if you pray earnestly and add that you want to know about fiction VA!\'^ read exclusively by women, She finally relents and hands you three genres: con-fession magazines, nurse novels-and the Modern Gothic. Anywhere paperback books are sold you will findhe volumes whose covers seem to have evolved from the^ 1 same clone: the color scheme is predominantly blue or green, there is a frightened young woman in the fore-ground, in the background is a mansion, castle, or large house with one window lit, there is usually a moon, a storm, or both, and whatever is occurring is occurring at, night. These are the Modern Gothics. If you look inside the covers you will find that the stories bear no resem-blance to the literary definition of" Gothic." They are not related to the works of Monk Lewis or Mrs. Rad-cliffe, whose real descendants are known today as Horror Stories. The Modern Gothics resemble, instead, a crossbreed of Jane Eyre and Daphne Du Maurier's Rebecca and most of them advertise themselves as" in the Du Maurier tradition,"" in the Gothic tradition of Rebecca," and so on. According to Terry Carr, an Copyright (c) 2004 ProQuest Information and Learning Company Copyright (c) Popular Press THE MODERN GOTHIC ex-editor of Ace Books, their history in this country: began in the early'60s.... But books like this have always been written especially in England, where they were called romances... from about 1950 on; they were never big things over there, just a steady small market. It started at Ace.[which] bought some novels by Victoria Holt and Phyllis A. Whitney. They sold like anything....[Ace] continued and expanded the Gothic list here, including especially buying rights to early novels by Dorothy Eden and Anne Maybury... both now big-selling writers.* Modern Gothics unlike nurse novels and the confession maga-zines, are read by middle-class women or women with middle-class aspirations, and for some reason the books written by Englishwomen have remained the most popular, at least at Ace. In 1970 I asked Terry Carr to provide me with some of their longest-selling and best-selling books; according to Mr. Carr they are" representative of the higher ranges of the field" and all seem to be reprints of earlier works (one as early as 1953). t Also according to Mr. Carr: The basic appeal... is to women who marry guys and then begin to discover that their husbands are strangers... so there's a simultaneous attraction/repulsion, love/fear going on. Most of the" pure" Gothics tend to have a handsome, magnetic suitor or husband who may or may not be a lunatic and/or murderer... it remained for US women to dis-cover they were frightened of their husbands.** Here are the elements: To a large, lonely, usually brooding House (always named) comes a Heroine who is young, orphaned, unloved, and lonely. She is shy and inexperienced. She is attractive, sometimes even beautiful, but she does not know it. Sometimes she has spent ten years nursing a dying mother; sometimes she has (or has had) a wicked stepmother, a bad aunt, a demanding and selfish mother (usually deceased by the* In correspondence, November 18, 1970. tI was attracted to the field by happening to pick up Fawcett's Columbella by Phyllis Whitney, 1966. The books provided by Ace are: Nightingale at Noon by Margaret Summerton, 1962; The Least of All Evils by Helen Arvonen, 1970; The Dark Shore by Susan Howatch, 1965; I Am …