Still to this day, it is a popular font to use. It is used as an inspiration for many American gothic typefaces. It is therefore hoped that this anthology will stimulate scholarly interest as well as readers pleasure in these unearthly poems.Īfghanistan, Algeria, American Samoa, Angola, Anguilla, Bahamas, Barbados, Belarus, Benin, Bermuda, Bolivia, Botswana, Burkina Faso, Burundi, Cameroon, Cape Verde Islands, Cayman Islands, Central African Republic, Chad, Comoros, Côte d'Ivoire (Ivory Coast), Democratic People's Republic of Korea, Democratic Republic of the Congo, Djibouti, Ecuador, Egypt, El Salvador, Equatorial Guinea, Eritrea, Ethiopia, Falkland Islands (Islas Malvinas), Gabon Republic, Gambia, Ghana, Guernsey, Guinea, Guinea-Bissau, Guyana, Honduras, Jamaica, Jersey, Kenya, Lesotho, Liberia, Libya, Macedonia, Madagascar, Malawi, Maldives, Mali, Marshall Islands, Mauritania, Mauritius, Mayotte, Moldova, Mongolia, Morocco, Mozambique, Namibia, Nauru, Nepal, Nicaragua, Niger, Nigeria, Palau, Paraguay, Republic of Cuba, Republic of the Congo, Reunion, Russian Federation, Rwanda, Saint Helena, Saint Pierre and Miquelon, San Marino, Senegal, Seychelles, Sierra Leone, Somalia, Sudan, Suriname, Svalbard and Jan Mayen, Swaziland, Syria, Tanzania, Togo, Trinidad and Tobago, Tunisia, Tuvalu, Uganda, Ukraine, Venezuela, Virgin Islands (U.S.Franklin Gothic is a sans-serif font from the early 20th century. Although Gothic fiction has now been receiving serious critical attention for twenty years, Gothic verse has been largely overlooked. A substantial introduction by Caroline Franklin puts the rise of Gothic poetry into its historical context, relating it both to Romanticism and Enlightenment historicism. A wide range of poetic forms is included: as well as ballads, tales, lyrics, meditative odes and dramatic monologues, a medievalist romance by Scott and Gothic drama by Byron are also included in full. Alongside canonical verse by Coleridge, Keats and Poe, it introduces readers to lesser-known authors excursions into the macabre and the grotesque.
Gothic has never truly died as it constantly reinvents itself, and this lively, illustrated and annotated anthology offers students the atmospheric poetry that originally studded terror novels and inspired horror films. It traces the rise of Gothic in the late eighteenth century and follows its footsteps through the nineteenth century. This is the first modern anthology of Gothic verse. Some poets intended merely to shock or entertain, but Gothic also liberated the creative imagination and inspired them to enter disturbing areas of the psyche and to portray extreme states of human consciousness. Gothic verse liberated the dark side of Romantic and Victorian verse: its medievalism, melancholy and morbidity.
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