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Gender, Genre therefore the Ghosts of “Crimson Peak”

Gender, Genre therefore the Ghosts of “Crimson Peak”

At turns compulsively intimate and uncompromisingly haunting, Crimson Peak is fundamentally Gothic, an affair that is torrid of century sensibility hitched towards 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 – forced right back from the ominous evening yet apparently omnipresent; just one light lit nearby the eve or inside the attic that’s all knowing yet mostly foreboding. Their outside might be manufactured from offline, timber and finger nails yet every inches of those stark membranes were created in black colored blood, corroded veins and a menacing beast that aches with ghosts of history.