21st-Century British Gothic

INTRODUCTION: 21st-Century British Gothic: The Monstrous, Spectral, and Uncanny in Contemporary Fiction
CHAPTER 1: Post-9/11 Gothic: The Uncanny and Contemporary Trauma in Pat Barker's Double Vision and Patrick McGrath's Ghost Town
CHAPTER 2: Decolonial Gothic: Tropical Terrors and Subterranean Ghosts in Tash Aw's The Harmony Silk Factory and Nadeem Aslam's The Wasted Vigil
CHAPTER 3: Gothic Inheritance: Imperial Witchcraft and Haunted Houses in Helen Oyeyemi's White is for Witching and Sarah Waters' The Little Stranger
CHAPTER 4: Digital Gothic: Digital Technology, Migration, and the Gothic in Hari Kunzru's Transmission and Mohsin Hamid's Exit West
CHAPTER 5: Gothic Homelessness: Spectral Inhabitants and Uncanny Spaces in Ali Smith's Hotel World, Trezza Azzopardi's Remember Me, and Brian Chikwava's Harare North
CHAPTER 6: The Gothic City: Uncanny spaces, historical spectres, and monstrous urbanity in Louise Welsh's The Cutting Room and Chloe Aridjis's Book of Clouds
CHAPTER 7: Brexit Gothic: Spectral Illusions and Affect Memories in Sarah Moss's Ghost Wall and Niall Griffith's Broken Ghost
CHAPTER 8: Pandemic Gothic: Childhood Terror and Monstrous Illness in the Fiction of Kazuo Ishiguro and M.R. Carey
CHAPTER 9: Wet Gothic: Ecofeminism and Horror in Julie Armfield's Our Wives Under the Sea, Daisy Johnson's Fen, and Zoe Gilbert's Folk
Bibliography
Index