Body Gothic: Corporeal Transgression in Contemporary Literature and Horror Film

243 Pages·2014·2.663 MB·English

by  Xavier Aldana Reyes

BODY GOTHIC
SERIES PREFACE
Gothic Literary Studies is dedicated to publishing groundbreaking
scholarship on Gothic in literature and film. The Gothic, which has
been subjected to a variety of critical and theoretical approaches,
is a form which plays an important role in our understanding of
literary, intellectual and cultural histories. The series seeks to
promote challenging and innovative approaches to Gothic which
question any aspect of the Gothic tradition or perceived critical
orthodoxy.
Volumes in the series explore how issues such as gender, religion,
nation and sexuality have shaped our view of the Gothic tradition.
Both academically rigorous and informed by the latest developments
in critical theory, the series provides an important focus for scholarly
developments in Gothic studies, literary studies, cultural studies and
critical theory. The series will be of interest to students of all levels
and to scholars and teachers of the Gothic and literary and cultural
histories.
SERIES EDITORS
Andrew Smith, University of Sheffield
Benjamin F. Fisher, University of Mississippi
EDITORIAL BOARD
Kent Ljungquist, Worcester Polytechnic Institute Massachusetts
Richard Fusco, St Joseph’s University, Philadelphia
David Punter, University of Bristol
Chris Baldick, University of London
Angela Wright, University of Sheffield
Jerrold E. Hogle, University of Arizona
Body Gothic
Corporeal Transgression in Contemporary
Literature and Horror Film
Xavier Aldana Reyes
UNIVERSITY OF WALES PRESS
CARDIFF
2014
© Xavier Aldana Reyes, 2014
All rights reserved. No part of this book may be reproduced in any material
form (including photocopying or storing it in any medium by electronic
means and whether or not transiently or incidentally to some other use of
this publication) without the written permission of the copyright owner.
Applications for the copyright owner’s written permission to reproduce
any part of this publication should be addressed to the University of Wales
Press, 10 Columbus Walk, Brigantine Place, Cardiff CF10 4UP.
www.uwp.co.uk
British Library CIP Data
A catalogue record for this book is available from the British Library.
ISBN 978-1-78316-092-1
e-ISBN 978-1-78316-093-8
The right of Xavier Aldana Reyes to be identified as author of this work
has been asserted by him in accordance with sections 77, 78 and 79 of the
Copyright, Designs and Patents Act 1988.
Typeset in Wales by Eira Fenn Gaunt, Cardiff
Printed by CPI Antony Rowe, Chippenham, Wiltshire
This book is dedicated to my parents,
Ana María Reyes Bertolín
and
Juan Antonio Aldana Ribeiro
Sin vosotros, nunca.

C
ONTENTS
Acknowledgements ix
Introduction:
From Gothic Bodies to Body Gothic 1
1 Splatterpunk 28
2 Body Horror 52
3 The New Avant-pulp 75
4 The Slaughterhouse Novel 97
5 Torture Porn 122
6 Surgical Horror 144
Conclusion: Corporeal Readings 166
Notes 173
Works Cited 205
Filmography 219
Index 225

A
CKNOWLEDGEMENTS
Halfway through the writing of my doctoral thesis, I realised that
I was working on two very different projects. At the time, this
was a great source of anxiety, as I felt I would never get to the end
of either. I would like to thank my supervisors, Catherine Spooner
and Brian Baker, for all their advice and endless patience, and for
encouraging me to pursue the writing of both. Without them, I
would never have been able to see the wood for the trees.
Thanks to the commissioning editor at the University of Wales
Press, Sarah Lewis, and to the Gothic Literary Studies co-editor,
Andrew Smith, for seeing me throughout the editorial process and
for being so enthusiastic about Body Gothic.
I would like to thank my colleagues at Manchester Metrop olitan
University for believing in me and for giving me the time to write
this book. I would like to thank Berthold Schoene and Helen
Malarky for their championing of my research and for helping me
achieve things that had, until recently, remained mere academic
dreams. Thanks to the wonderful gothic research cluster at MMU,
especially Sue Zlosnik, Anna Powell, Angelica Michelis and Emma
Liggins, who have offered their help and guidance when most
needed. Special thanks to Linnie Blake and Sorcha Ní Fhlainn for
countless stimulating discussions and for some of the best laughs I
have ever had. Time with them enriches me both academically and
personally.
I would like to thank my gothic and horror colleagues and peers
around the world for inspiring me with their work. It is easy to
take for granted how important it is to be involved in a supportive
aca demic community. For their encouragement and general loveli-
ness, I would like to thank Fred Botting, Isabella van Elferen, Stacey
Abbott, Dale Townshend, Justin Edwards, Sara Wasson, Claire