| Abstract | In this paper, I will illustrate the origins of the gothic genre that we see with Horace Walpole's The Castle of Otranto and Charlotte Brontë's Jane Eyre, then I will evaluate the manner in which both supernatural and realistic gothic conventions are embedded within Hannah Craft's The Bondwoman's Narrative as a transition into viewing how the gothic and slave narratives interacted in early works. Lastly, I will critically evaluate Toni Morrison's Beloved to offer a look at how a genre that was once viewed as solely a form of entertainment has shifted over time to be applicable to offering unfiltered commentary on the horror that slavery was to the black enslaved woman. |
