Titlebook: Contemporary Women‘s Gothic Fiction; Carnival, Hauntings Gina Wisker Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Gothic

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Autoantibodies to Endothelial Cells, while her high Gothic, carnivalesque and often very dark, horror influenced . (1987). Angela Carter’s writing questions versions of the real and fantastic, reconstructs versions of women in cultural expression, and develops celebratory ways for agency.

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C. Norman Gillis,X. Chen,M. Merkern her self-constructed tower, awaiting some kind of rescue from a prince. Atwood debunks traditional and popular Gothic romantic fictions in . and her short stories particularly those in .. She uses the Gothic to undercut dominating myths of gender and power, and in the high Gothic . dramatises female vampiric spite, mirroring and split selves.

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Vampire Bites,nd life, gender, space and time and offer new views of this Gothic figure, the vampire, seen as a radical boundary crosser who exposes social myths and offers alternatives to life/death and male/female boundaries, seizing and embracing alternatives

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