I am very excited because my monograph, Christina Rossetti’s Gothic, is published today by Bloomsbury. This book has been a long time coming: it is based on my Ph.D. research, and has been through much rewriting, rethinking and editing to get to this stage. The process of turning a thesis into a book is often a confusing one, but ultimately it has been one that I have enjoyed and learned a lot from.
The book blurb says:
The poetry of Christina Rossetti is often described as ‘gothic’ and yet this term has rarely been examined in the specific case of Rossetti’s work. Based on new readings of the full range of her writings, from ‘Goblin Market’ to the devotional poems and prose works, this book explores Rossetti’s use of Gothic forms and images to consider her as a Gothic writer. Christina Rossetti’s Gothic analyses the poet’s use of the grotesque and the spectral and the Christian roots and Pre-Raphaelite influences of Rossetti’s deployment of Gothic tropes.
Contents: Introduction \ 1. The Spectrality of Rossettian Gothic \ 2. Early Influences: Rossetti and the Gothic of Maturin \ 3. ‘Goblin Market’ and Gothic \ 4. Rossetti, Ruskin and the Moral Grotesque \ 5. Shadows of Heaven: Rossetti’s Prose Works \ Bibliography \ Index.
I have worked on Rossetti for about six years now, and have been reading her poetry for much longer. The impetus behind my research was that so much criticism of her work considers her primarily as shadowed by the Pre-Raphaelites, or as a delicate, sentimental lady-poet whose work is rather sweet instead of fierce. ‘Goblin Market’ has attracted the most attention, of course, and that is quite a fierce poem, but many of her other poems are read, or misread, as sentimental, and this is not the whole picture. Rossetti was very keen on Gothic novels as an adolescent, and these influence her early work directly, when she engages with the novels of Maturin in her poems, and then takes the aesthetics and tropes of Gothic forward into her later work, combining it with her Tractarian faith to create something quite unexpected. Ultimately, I argue in my book, Rossetti sees the world itself as Gothic, and Heaven as the ideal beyond it to which we should aim.
There are many excellent books on Rossetti available, from biographies to scholarly works which engage with particular aspects of her work, and I owe an enormous debt to these writers, though they are too numerous to name.
From my work on Rossetti springs my next project, on graveyard poetry, because through my work on Rossetti’s poetry I became interested in the interactions and relations between poetry and Gothic. I don’t think I can quite bring myself to leave Rossetti behind, however.
The book is available on Amazon.