We have attempted to address a semi-universal definition of horror literature. This leads us to more questions: Where did “horror literature” come from? What are its origins? These are interesting questions that we will explore in more detail.

It is assumed the oral telling or horror stories has been a prime art form for thousands of years. Demons who ate children, vengeful enemies, and ghostly spirits have likely been a subject of discussion and story throughout history. Yet in its written form, many believe that true horror literature originated with the “gothic” literature genre in the mid-to-late eighteenth century. Gothic literature was believed to be unique commentary of the particular tremulous and dark period which spawned it through such works as Ann Radcliffe’s “The Mysteries of Udolpho” and Mary Shelly’s cross-genre epic “Frankenstein.” The influence of the original gothic lit movement can easily be seen today in the works of modern writers like Daphne Du Marier (“Rebecca”) and more recently, Anne Rice.

“The spectre of social revolution is manifest in the supernatural "spectres" of the Gothic: a crumbling way of life emerges as a crumbling and haunted Gothic manor; the loss of English social identity becomes the Gothic hero or heroine's search for identity. The Gothic is often criticized or even dismissed for its overly melodramatic scenarios and utterly predictable plots...” (http://www.engl.virginia.edu/enec981/Group/general.intro.html)
It is interesting to note that gothic literature began to divide into numerous formations shortly after the genre came into official existence. Try reading “The Mysteries of Udolpho” back to back with Matthew Lewis’ “The Monk.” Despite their similar gothic themes and relative close publications, the difference in tone of the two works is intriguing. So this leaves us to ponder....are the terms “gothic” and “horror” interchangeable in dealing with literature? Are we dealing in two separate genres when discussing the two?

It depends. Scholars are fascinated by Shelly’s “Frankenstein,” in that it provided intriguing characterizations and a darker story than had previously been displayed by other gothic lit writers. “Frankenstein” could be looked upon as quintessential gothic literature. Then again, the themes of Shelly’s novel certainly tug at the “horror” strings: isolation, life after death, chaotic ambition and the consequences of playing god can equally be looked upon as an in-depth look into the horrors of a dark humanity.

Both “gothic” and “horror” have taken interesting and all-encompassing forms. Both genres have evolved and spawned entire spectacular cultures of their very own. The gothic movement has come into a new existence in today’s society, and while some may find the movement disturbing and horrific, others find it beautiful and transcendent. It is likely the horror literature movement has branched off and evolved from its more gothic cousin, yet the elements of the gothic can still be found in many works of the horror genre: abused heroines, foreboding mansions, and incestuous uncles are themes still prominent in the popular horror novels of today.