This article explores how gothic fiction aligns pleasure with professional reading, indicating new developments in genre enjoyment.
Contemporary readers’ interest in gothic fiction signals one opportunity for understanding what aligns pleasure reading with professional reading. Drawing on the example of Shirley Jackson’s psychological horror, this article proposes attending to the formal developments shaping today’s genres and microgenres, thus updating our grasp of the heterodox pleasures animating the gothic.
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Mark Noble (2026) studied this question.
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