Southern Gothic

Southern Gothic is a subgenre of Gothic fiction in American literature that takes place in the American South.

Common themes in Southern Gothic literature include deeply flawed, disturbing or eccentric characters who may or may not dabble in hoodoo, ambivalent gender roles, decayed or derelict settings,grotesque situations, and other sinister events relating to or stemming from poverty, alienation, crime, or violence.

Elements of a Gothic treatment of the South were apparent in the 19th century, ante- and post-bellum, in the grotesques of Henry Clay Lewis and the de-idealized visions of Mark Twain. The genre came together, however, only in the 20th century, when dark romanticism, Southern humor, and the new literary naturalism merged into a new and powerful form of social critique.

The term "Southern Gothic" was originally used as pejorative and dismissive. Ellen Glasgow used the term in this way when she referred to the writings of Erskine Caldwell and William Faulkner. She included the authors in what she called the "Southern Gothic School" in 1935, stating that their work was filled with "aimless violence" and "fantastic nightmares." It was so negatively viewed at first that Eudora Welty said, "They better not call me that!"

The Southern Gothic style is one that employs the use of macabre, ironic events to examine the values of the American South. Thus unlike its parent genre, it uses the Gothic tools not solely for the sake of suspense, but to explore social issues and reveal the cultural character of the American South – Gothic elements often taking place in a magic realist context rather than a strictly fantastical one.

Warped rural communities replaced the sinister plantations of an earlier age; and in the works of leading figures such as William Faulkner, Carson McCullers and Flannery O'Connor, the representation of the South blossomed into an absurdist critique of modernity as a whole.

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