If the world of the gothic is a realm of enclosed spaces (castles, psychotic minds and the like) haunted by the past, and a short story is itself a kind of enclosed space, then an anthology of gothic tales that constitutes a history of the genre becomes a (meta)gothic artifact--a horrific and fascinating edifice of attics and dungeons, of unforgotten oubliettes. Charlotte Perkins Gilman provides us with a superb architectural introduction in her The Yellow Wallpaper.
She disentangles neatly the confusingly contradictory meanings of the word "gothic," explaining how "literary Gothic is really anti-Gothic," and how the term came to mean "medieval, therefore barbarous." (Hume, 1991)
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