Eerie Elements in Modern Retellings of Classic Gothic Tales by Erinn Bentley & Roy Jackson
| Erinn Bentley is a Professor of English Education at Columbus State University, where she mentors pre-service teachers and graduate students. Also serving as Associate Director at CSU’s Center for Global Engagement, Erinn enjoys developing and leading study abroad programs for education majors.  | Roy Edward Jackson is an Assistant Professor of Education at Goshen College, specializing in literacy education. In his spare time, he loves getting lost in the woods with his dog.  |
This time of year, who can resist listening to a good ghost story, diving into a dark and twisted murder mystery, or frantically turning pages filled with horror? To celebrate this season of spookiness, we will explore Gothic YA novels this week.
According to Harpole (1999), “...a Gothic tale usually takes place...in an antiquated or seemingly antiquated space....[and] within this space....are hidden some secrets from the past (sometimes the recent past) that haunt the characters, psychologically, physically, or otherwise” (p.2). These hauntings, ghosts, or monsters are not inserted into the novel as mere thrill factors. Rather, these beings or occurrences are supernatural manifestations of “the unconscious” - representing what is psychologically buried within the characters themselves or representing “deep-seated social and historical dilemmas” (Harpole, 1999, p. 3). As a result, as readers are drawn into these eerie worlds, they also enter the characters’ minds to vicariously both survive and discover the true meaning behind the horror.
In addition to classic Gothic texts, this genre is quite prevalent in adolescent literature. Del Nero (2018) posits, “part of the appeal of the Gothic to adolescents is that like the developmental stage, the Gothic is a genre of in-betweenness" (p. 392). These characters border two worlds, whether they are people marginalized because of gender, race, or physical/mental capabilities or are ghosts or other creatures living in supernatural and actual realms (Farnell, 2009). Weaving together classic Gothic elements of mystery, horror, and romance, this week’s chosen novels also explore universal YA themes, including what it means to be in-between childhood and adulthood, which can – at times – be somewhat horrifying.
According to Harpole (1999), “...a Gothic tale usually takes place...in an antiquated or seemingly antiquated space....[and] within this space....are hidden some secrets from the past (sometimes the recent past) that haunt the characters, psychologically, physically, or otherwise” (p.2). These hauntings, ghosts, or monsters are not inserted into the novel as mere thrill factors. Rather, these beings or occurrences are supernatural manifestations of “the unconscious” - representing what is psychologically buried within the characters themselves or representing “deep-seated social and historical dilemmas” (Harpole, 1999, p. 3). As a result, as readers are drawn into these eerie worlds, they also enter the characters’ minds to vicariously both survive and discover the true meaning behind the horror.
In addition to classic Gothic texts, this genre is quite prevalent in adolescent literature. Del Nero (2018) posits, “part of the appeal of the Gothic to adolescents is that like the developmental stage, the Gothic is a genre of in-betweenness" (p. 392). These characters border two worlds, whether they are people marginalized because of gender, race, or physical/mental capabilities or are ghosts or other creatures living in supernatural and actual realms (Farnell, 2009). Weaving together classic Gothic elements of mystery, horror, and romance, this week’s chosen novels also explore universal YA themes, including what it means to be in-between childhood and adulthood, which can – at times – be somewhat horrifying.
Among our recommended reads, we begin with a retelling of one of the most iconic Gothic novels - Mary Shelly’s Frankenstein. Told from the perspective of Victor’s adopted sister, who later becomes his wife, The Dark Descent of Elizabeth Frankenstein traces Elizabeth’s escape from poverty and subsequent abusive relationship with Victor and his family. What is captivating about this novel is how deeply we are drawn into Elizabeth’s mind. In her desperate quest for self-preservation, she justifies dark and devious actions to keep Victor’s secrets. As she matures into adulthood, she slowly acknowledges her complicity with thoughts such as “I had accused Victor of creating a monster, but I had done the same.” In this retelling Victor is still deplorable, but we see – through Elizabeth’s perspective - how the monster within was nurtured into existence. Contrasting her dysfunctional marriage, Elizabeth eventually finds joy and acceptance in two females and an unexpected friend, suggesting that good can prevail over evil.
 |  |
Moving from the captivating reimagining of Mary Shelly’s Frankenstein we turn to another gothic iconic piece, Henry James’ The Turn of the Screw which has inspired numerous retellings and movie adaptations that captivate young readers and viewers. The premise of James’ novella centers on an unnamed governess sent to a remote island to care for two young charges while their uninterested, and wealthy, uncle who lives away from the estate, desires no contact or knowledge of their care. Unsettling appearances, ghosts perhaps, cause the governess to question her insanity, the estate, and the children.
Two recent YA adaptations have reimagined this eerie tale, offering fresh perspectives on its enduring mystery and psychological tension. The first, The Turning, by Francine Prose tells the story of Jack, a teenage boy who takes a summer job as a babysitter on a remote island, tasked with caring for two strange children, Miles and Flora. Isolated from the mainland with no cell service or internet, Jack begins to witness unsettling, ghostly occurrences that make him question whether the children are haunted or if he’s losing his grip on reality. As the eerie events intensify, the novel builds suspense around Jack’s psychological unraveling, blurring the line between the supernatural and his own fears.
Written in epistolary form, there is something quite intimate about the structure of the novel reading Jack’s letters to his friends and father as he questions his sanity and surroundings. He ruminates, as does the reader, in the surroundings without the distractions of the phone to confirm or ease his fears. The sense of isolation from the original text plays well in this tech free island that Prose has created as Jack cannot text his fears in real time but must craft handwritten letters and wait for response. The absence of phones or the internet intensifies the Gothic mood, allowing fear to fester unchallenged. Additionally, the gender swap of the protagonist offers a fresh and engaging update to this classic tale.
Written in epistolary form, there is something quite intimate about the structure of the novel reading Jack’s letters to his friends and father as he questions his sanity and surroundings. He ruminates, as does the reader, in the surroundings without the distractions of the phone to confirm or ease his fears. The sense of isolation from the original text plays well in this tech free island that Prose has created as Jack cannot text his fears in real time but must craft handwritten letters and wait for response. The absence of phones or the internet intensifies the Gothic mood, allowing fear to fester unchallenged. Additionally, the gender swap of the protagonist offers a fresh and engaging update to this classic tale.
A more traditional take on James’ novel is John Harding’s Florence & Giles, set in late 19th-century New England. Harding changes the sibling dynamic by making Florence the elder and protagonist of the story. Under the strict control of a distant uncle, Florence is forbidden from learning to read due to his conservative views. While her younger brother, Giles, is sent away to boarding school, Florence secretly teaches herself to read, devouring the contents of the mansion’s Gothic library. When Giles is unexpectedly sent home, a new governess, Miss Taylor, arrives to care for the two. Florence quickly becomes suspicious, believing Miss Taylor harbors dark intentions toward her brother and may even be a malevolent, supernatural presence. As the story unfolds, Florence's increasingly unreliable narration blurs the line between reality and paranoia, raising questions about the true nature of the governess and her own actions. With an unreliable protagonist, and an unsettling ending, Florence & Giles turns the pages at breakneck speed for the lover of gothic horror. The novel is steeped in the eerie atmosphere of the exterior in the remote setting and gothic mansion, as well as the interior of a mind in turmoil.
Though not strictly speaking a Gothic YA novel, Gretchen McNeil’s Ten is included in this week’s recommendations due to its creepy retelling of Agatha Christie’s And Then There Were None. McNeil emulates the “Queen of Crime” by structuring her novel as a cozy mystery and using a similar framework as the original text: It is set in a remote village, fueled by a plot filled with red herrings, and is driven by an adolescent sleuth, Meg. The premise is that 10 teens are invited to a weekend party at a secluded island beach house. When they are stranded due to a storm, characters mysteriously start dying, forcing Meg and the remaining survivors to unravel clues revealing the murderer. From secret diaries, to love triangles, to rumors and back-stabbing – McNeil heightens the suspense by showing how everyday teenage drama can spiral into hysteria under such tense circumstances. While this novel does not dive deeply into serious themes, it is a dark and twisty page-turner. A fun weekend pick or perfect for independent reading.
 |  |
There is something captivating about the elements of gothic horror that appeal to young readers. Questioning one’s identity is a key piece of gothic horror that aligns well with the emerging adult. Through this genre, and all the lenses like feminist and Marxist we can apply to reading them, these tales of unsettledness and questioning oneself, allow adolescents to see reflections of their experiences metaphorically. Grappling with the past, questioning who we are to become, are all salient themes for the young reader. These reimagined works of gothic horror perhaps invite readers not just into the books themselves, but into their own uncovered truths as well.
References:
Del Nero, J. R. (January/February 2018). Embracing the other in Gothic texts: Cultivating understanding in the reading classroom. Journal of Adolescent & Adult Literacy, 61,(4), 391-399.
Farnell, G. (2009). The Gothic and the thing. Gothic Studies, 11,(1), 113-123. https://doi.0rg/10.7227/G
Hogle, J. E. (2002). Introduction: the Gothic in Western culture. In J.E. Hogle (Ed.), The Cambridge companion to Gothic fiction (pp.1-20). Cambridge University Press.
Del Nero, J. R. (January/February 2018). Embracing the other in Gothic texts: Cultivating understanding in the reading classroom. Journal of Adolescent & Adult Literacy, 61,(4), 391-399.
Farnell, G. (2009). The Gothic and the thing. Gothic Studies, 11,(1), 113-123. https://doi.0rg/10.7227/G
Hogle, J. E. (2002). Introduction: the Gothic in Western culture. In J.E. Hogle (Ed.), The Cambridge companion to Gothic fiction (pp.1-20). Cambridge University Press.
RSS Feed