Gender, Genre and also the Ghosts of “Crimson Peak”

Gender, Genre and also the Ghosts of “Crimson Peak”

At turns compulsively intimate and uncompromisingly haunting, Crimson Peak is finally Gothic, a torrid event of eighteenth century sensibility hitched into the contemporary trappings of love, death as well as the afterlife. A looming estate tucked away in the midst that reaches with outstretched hands to draw in the stories troubled figures like most works of Gothic fiction, there lies a dark fate at its centre. It may be seen on hundreds of paperback covers – The Lady of Glenwith Grange by Wilkie Collins, The Weeping Tower by Christine Randell to mention a few – pressed back contrary to the night that is ominous apparently omnipresent; just one light lit close to the eve or inside the attic that is all knowing yet mostly foreboding. Their outside can be manufactured from offline, timber and finger nails yet every inches of the stark membranes were created in black colored blood, corroded veins and a menacing beast that aches with ghosts of history.

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