I Hate What Diet Culture Has Done To Ethnic Food My Ancestors (my GRANDPARENTS) Ate Rice And Injera And

Masterpost of Free Gothic Literature & Theory

Classics Vathek by William Beckford Wuthering Heights by Emily Brontë The Woman in White  & The Moonstone by Wilkie Collins Carmilla by Joseph Sheridan Le Fanu The Turn of the Screw by Henry James The Monk by Matthew Lewis The Phantom of the Opera by Gaston Leroux Melmoth the Wanderer by Charles Maturin The Vampyre; a Tale by John Polidori Collected Works of Edgar Allan Poe Confessions of an English Opium-Eater by Thomas De Quincey The Mysteries of Udolpho by Ann Radcliffe The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson Dracula by Bram Stoker The Castle of Otranto by Horace Walpole The Picture of Dorian Gray by Oscar Wilde Frankenstein; Or, The Modern Prometheus by Mary Wollstonecraft Shelley

Short Stories and Poems An Occurrence at Owl Creek Bridge by Ambrose Bierce Songs of Innocence & Songs of Experience by William Blake The Rime of the Ancient Mariner by Samuel Taylor Coleridge The King in Yellow by Robert W. Chambers The Legend of Sleepy Hollow by Washington Irving The Yellow Wallpaper by Charlotte Perkins Gilman

Pre-Gothic Beowulf The Divine Comedy  by Dante Alighieri A Journal of the Plague Year by Daniel Defoe Faust by Johann Wolfgang von Goethe The Tragical History of Doctor Faustus by Christopher Marlowe Paradise Lost by John Milton Macbeth by William Shakespeare Oedipus, King of Thebes by Sophocles The Duchess of Malfi by John Webster

Gothic-Adjacent Northanger Abbey by Jane Austen The Wendigo by Algernon Blackwood Jane Eyre & Villette by Charlotte Brontë Lyrical Ballads, With a Few Other Poems by Coleridge and Wordsworth The Mystery of Edwin Drood by Charles Dickens The Idiot & Demons (The Possessed) by Fyodor Dostoyevsky The Man in the Iron Mask by Alexandre Dumas Moby-Dick by Herman Melville The Island of Doctor Moreau by H. G. Wells

Historical Theory and Background The French Revolution of 1789 by John S. C. Abbott Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth by A. C. Bradley The Tale of Terror: A Study of the Gothic Romance by Edith Birkhead On Heroes, Hero-Worship, and the Heroic in History by Thomas Carlyle Demonology and Devil-Lore by Moncure Daniel Conway Ancient Pagan and Modern Christian Symbolism by Inman and Newton On Liberty by John Stuart Mill The Social Contract & Discourses by Jean-Jacques Rousseau Feminism in Greek Literature from Homer to Aristotle by Frederick Wright

Academic Theory Introduction: Replicating Bodies in Nineteenth-Century Science and Culture by Will Abberley Viewpoint: Transatlantic Scholarship on Victorian Literature and Culture by Isobel Armstrong Theories of Space and the Nineteenth-Century Novel by Isobel Armstrong The Higher Spaces of the Late Nineteenth-Century Novel by Mark Blacklock The Shipwrecked salvation, metaphor of penance in the Catalan gothic by Marta Nuet Blanch Marching towards Destruction: the Crowd in Urban Gothic by Christophe Chambost Women, Power and Conflict: The Gothic heroine and “Chocolate-box Gothic” by Avril Horner Psychos’ Haunting Memories: A(n) (Un)common Literary Heritage by Maria Antónia Lima ‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction by Aguirre Manuel The terms “Gothic” and “Neogothic” in the context of Literary History by O. V. Razumovskaja  The Female Vampires and the Uncanny Childhood by Gabriele Scalessa Curating Gothic Nightmares by Heather Tilley Elizabeth Bowen, Modernism, and the Spectre of Anglo-Ireland by James F. Wurtz Hesitation, Projection and Desire: The Fictionalizing ‘as if…’ in Dostoevskii’s Early Works by Sarah J. Young Intermediality and polymorphism of narratives in the Gothic tradition by Ihina Zoia

A Thought

I lied. It's not a thought. It's a not at all cohesive babble.

So what if Crowley and Aziraphale - hear me out - adopted a kid? Like, they're living at South Downs and Aziraphale just shows up at the cottage with a literal 8 year old human? And Crowley's like 'fucking... okay.'

And they take care of this human kid. And they wow the kid with miracles, and as the kid becomes a teen, the kid's like 'pa, never do that again' when Aziraphale tries to do his magic act and he's all heartbroken because his kid doesn't like his magic act and Crowley has to comfort his angel?

And the kid becomes an adult, falls in love, and moves out, but Aziraphale finally caves and buys a modern phone so he can check in with the kid every day and the kid's exasperated but loves their pa and allows it.

And the kid gets their heart broken and moves back in and lives there for a while?

And Crowley and Aziraphale love this kid with everything they have?

And even then, it's not enough, because the kid dies anyway, and Crowley and Aziraphale find comfort in each other, and barely leave the house for a century - not even to eat or get alcohol?

But then they realize that being able to love this thing that they raised was worth the grief and they adopt another?

What if that happened?

Good Omens: all about its score

I know these have a lot of text, but I tried to put everything in a “chronological, this fits together” order. If you love music, you know how much the score of a certain series/ film adds to the feeling of it.

David Arnold is a genius. There is so much going on beneath the surface. All those little strings you might not pay attention to, they are ATTENTION worthy.

This is part 1. There is a part 2 here!

I also want to point out the one thing I did not add on the slides: there is a moment at the beginning of episode 6 of season 1 where Mark Kermode played the harmonica. (Just as a little cameo for you :) ) In the words of @neil-gaiman “ Ennio Morricone-style Western harmonica music”.

All of the information here was gathered from interviews with David Arnold. (Those include videos as well and the DVD commentaries). I will leave all my sources in part 2.

Not sure I can describe the devastation of realizing you will never fluently learn your native language and actively contributing to the death of it

Please reblog, I’m trying to make up a god

Realistically if vampires could only feed on blood they would have constant diarrhea.

When you're unsuccessfully looking for something and start gradually increasing your It Could Be There range. Like yeah sure maybe the rice cooker pot is in the freezer, idk

NOTICE: As more and more fanfic writers are using generative AI for their works (you uncreative dweebs), I hereby swear on everything I hold dear that I have not and will NEVER use generative AI in ANY of my written work. Everything I post will be organically and creatively my own.

One thing I don't see talked about is the scene in ep. 3 season 2 when Aziraphale and Crowley are talking to the doctor, and how the doctor is describing how the malignant tumor Aziraphale was holding came from a boy who died. And clearly this entire episode is a pivotal moment in Aziraphales development, but that particular scene is so important to me. How Aziraphale hugs the jar closer, and the look of remorse and grief on his face.

(this!!!)

Throughout the series Aziraphales been shown to care a lot about humanity, but to me it's always been a sort of obligation thing. Like oh yeah I'm an angel it's in my job description to care about you weirdos. And it's been shown that Aziraphale clearly cares about human history and achievements and all that, or else he wouldn't have tried half as much to save the world. But up until this point it's always felt a bit impersonal. During the flood, he doesn't fret as much over the humans as Crowley does. I'm sure he was concerned and felt sorry for them, but he doesn't really know what to say about it, because its Gods will. At the time, God's will triumphed over everything, even his love for humanity. Which to me is why he seems a bit cold to the poor in Edinburgh in 1827, because to him God has given them everything they need to live a good life, they simply made the wrong choices.

And that's a philosophy I feel can come off as very dismissive or apathetic, but it's clear that Aziraphale is neither of those things. He still feels bad, and genuinely tries to make a difference by giving advice to the grave robber and trying to stop her from making more poor decisions, his way of trying to help or "save" her while still adhering to God's will. ("An angel who tries to go along with Heaven as long as he can." Or something like that) But with the doctor and Crowleys clever input, his eyes are kinda opened. Or at least he realizes some stuff. And at that moment, when he's holding the jar, I feel like he's kind of realizing that that was a real, human life. Not just a tumor, or some illegal deal, or a hunk of flesh. That tumor had been part of a very alive little boy with all of the potential to be good, just for that to taken away by a very mortal thing. And with that I think he starts to understand a little more the helplessness that comes with being human, and the bad things that are sometimes necessary to preserve what is good. (the research using stolen bodies/organs)

While yes technically God did give people all they need to be good, with the cards dealt just by life, you can't always just be good. For Aziraphale this is kinda where the fact that God doesn't care/not everything is under Her control is brought to light. All these realizations that have been developing for a while coming to a head in this one moment is why I think we see Aziraphale be so sympathetic and caring over the jar, ex: pulling it closer to his chest and zoning out of the conversation for a sec. Also the natural care of being an angel.

I run cross country and always act like I wasn't complaining the whole time after a workout. Crying because I didn't want to come? No I wasn't shut up

embarassing that exercise actually does make me feel better after being like nooo no i don’t need to work out intensely for an hour that’s stupid and then i do and feel amazing for the next 12 hours like Ohh did you like that?? Did you like jumping around and lifting heavy things?? whatever