Michael Reese

Comparative Literature 60AC

Professor Masiello / Tara Phillips

November 29^th, 2016

Confronting the Past: The Southern Gothic in Text

           The 20^th century was one of great progress in all aspects of society, particularly in the realms of industry and literature. Great cities arose from farmland and stories of martial bravery, sacrifice, and great hope for the future cast light upon a recovering society. However, such light cast a long shadow, and it is within this darkness that the Southern Gothic style flourished. Although the term was not liberally applied until the movement was well developed, Southern Gothicism set its roots in the late 19^th century, reaching its peak during the middle of the 20^th century(Kornegay, "The Evolution of the Southern Gothic"), therefore following a similar timeline to the rise of the Modernist movement. Indeed, the Southern Gothic movement parallels the Modernist movement, and while at first may seem the antithesis of the Modernist interpretation of the turning century, engages in a great deal of mimesis regarding the major tenets of the Modernist thought. In reality, Modernism and Southern Gothicism are two sides of the same coin, an intersecting duality that when examined in detail reveals the true picture of society during the 19^th and 20^th centuries.

What is Southern Gothicism?

At its core, Southern Gothicism is a derivative of the parent Gothic movement, which originated in 1764 (Mullan, "The Gothic"). Primarily, Gothicism concerned itself with exploration of the supernatural in dark and foreboding settings. However, classical Gothicism, showcased by works such as The Castle of Otranto, was more of a convenient juxtaposition of dark motifs with plot elements in order to further the message of the author. However, second wave Gothicism enhanced the aesthetic value of Gothic images by attributing significance to the themes themselves(Mulan, "The Gothic"). Titles such as Frankenstein and Dracula were some of the first texts to utilize gothic imagry to represent oppressive themes in the general human condition rather than for simple literary fluff. Southern Gothicism was born out of this second wave Gothicism, but sought to use Gothic motifs for the larger purpose of societal criticism and exploration of unique problems in the American South. As such, Southern Gothicism enjoys the privilege of a pseudo-fantasy setting—placing reality against the supernatural as a means of highlighting certain qualities within the living through the dead (Winfrey, "Genre: Southern Gothic"). Southern Gothicism was conceptualized by writers such as Edgar Allen Poe in stories such as The Fall of the House of Usher in which the Southern drive for purity is demonized and results in the fall of an aristocratic family, a message seemingly commenting on the waning power of the American gentry. His work served to inspire others, culminating in Falkner who is generally hailed as the champion of Southern Gothicism and of Southern literature in general, evident through his writings including the famous “A Rose for Emily” and, of course, Absalom, Absalom!. Today, Southern Gothicism continues to permeate popular culture showing its adaptability and widespread relevance through appearances in shows such as American Horror Story: Coven. This demonstrates the potency of Southern Gothic themes and the apparent American preoccupation with what once was.

                                     

                                 Elements of Southern Gothicism

Southern Gothicism primary concerns itself with expanding upon the major motifs of its parent movement. There is a distinct focus on the supernatural, particularly on ghosts and specters to contrast the past with the present in order to highlight decay and a general decline in the ephemeral “Southern Way of Life” (Kornegay, "The Evolution of the Southern Gothic"). The use of the supernatural is meant to disturb, but not introduce fantasy into the narrative as realism is paramount to the success of the text. In the same vein, there is a focus on the grotesque as a means of showing decay, which can take the form of physical or verbal appeals regarding southern culture (Daley, "Southern Gothic"). Similarly, the concept of Brokenness is meant to reflect many of these common themes and often is a central motif in many texts (Daley, "Southern Gothic"). All of these themes are usually wrapped in irony, suspense, or disturbing events in order to communicate a certain message to the reader while maintaining the integrity of the genre.

Haunter of Ruins- Clarence John Laughlin

                                     The Masks Grow to Us- Clarence John Laughlin

Gothicism and Modernism: Competing Views of Modernity?

            Gothicism is to the past while Modernism is to the future. In many ways, this perception constructs the two literary movements as polar opposites. Although the delivery may differ, the two movements share similar characteristics with a fair amount of overlap. In particular there is a preoccupation with the past, in which previous events are made to haunt the characters and shape their current and future perceptions. Such is the case in Absalom, Absalom! where Sutpen attempts to escape his past, yet is plagued by the arrival of Charles Bon. The same is true of the classic Modernist text The Great Gatsby where Gatsby, despite all his wealth and power, is unable to escape his humble past as well as is affection for Daisy. Although not overtly acknowledged in Modernist texts, the past is still an ever-pressing force on the future and frequently surfaces in the narrative in a similar way to how the past plays a role in Southern Gothicism. Similarly, both ideologies focus on a candid portrayal of society in contrast to the romantic views of patriotism and horror. An example of such in gothic literature is O’Conner’s “Good Country People” which uses irony coupled with semi-humorous yet believable scenario to illustrate its message. Although of a different subject, Hemmingway’s “On the Quai at Smyrna” uses gritty realism to rebel against romantic notions of war. In many respects, Southern Gothicism and Modernism have the same objective: to show that society’s romantic perceptions are fantasy and should not be applied to contextual analysis of society. Where the two ideologies truly differ is in their reaction to the observed situations: Southern Gothicism usually remains pessimistic to change while Modernism idealizes it, revealing fundamental differences in how the authors believe reality should be perceived and interpreted.                                                                                  Conclusion

In many ways, Southern Gothicism is representative of the darker side of America literature, focusing and exploring themes and contemporary issues that are typically marginalized by other literary groups. The fact that Southern Gothicism is still a popular medium of expression in the modern era is a testament to its relevance and ability to explore contentious issues such as race and class. Perhaps it is now more than ever that Southern Gothicism is needed in the American literary canon as a way to assist us in understanding societal developments seemingly outside our control. Ultimately, Southern Gothicism was a movement that while never achieving the popularity and recognition the modernist movement did, provided a new way of examining societal developments. Maybe it is in light of the current societal dynamic that Southern Gothicism will truly shine, and take its place among the most important literary movements of all time. 

Questions:

1. Do you think that Southern Gothicism and Modernism are compatible movements? Is it possible for a novel to be a part of both ideologies? What other shared elements do you see between the two schools? What differences?
2. What do the elements of Southern Gothicism confer to the reader about the culture of the United States? Of the world? How do the elements of traditional Southern Gothicism highlight different societal problems?
3.  Does literature have to be written about/in the South to be considered Southern Gothic? Is the questions and commentary prevalent in Southern Gothicism unique to the South?

Works Cited

Kornegay, Jamie. "The Evolution Of Southern Gothic." The Huffington Post n.d.: n. pag. Print.

Meek, A.J. "Clarence John Laughlin Prophet without Honor." Clarence John Laughlin: Prophet without Honor. University of Mississippi Press, n.d. Web. 01 Dec. 2016.

Mullan, John. "The Gothic." The British Library. The British Library, 12 Feb. 2014. Web. 01 Dec. 2016.

Volez, Scott. "What Is Southern Gothic Literature? - Exploring Southern Gothic Literature." Exploring Southern Gothic Literature. N.p., n.d. Web. 01 Dec. 2016.

WILEY, DALE. SOUTHERN GOTHIC. Place of Publication Not Identified: VESUVIAN, 2017. English Literature. Jackson School District, 2005. Web. 2016.

Winfrey, Oprah. "GENRE: Southern Gothic." Oprah.com. N.p., 2011. Web. 01 Dec. 2016.