Gender, Genre in addition to Ghosts of “Crimson Peak”
At turns compulsively intimate and uncompromisingly haunting, Crimson Peak is fundamentally Gothic, a torrid affair of eighteenth century sensibility hitched into the modern trappings of love, death as well as the afterlife. Similar to works of Gothic fiction, there lies a dark fate at its centre, a looming estate saved when you look at the midst that reaches with outstretched arms to draw within the tales troubled figures. 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 couple of – pressed right right right back from the ominous evening yet apparently omnipresent; an individual light lit nearby the eve or inside the attic that is all knowing yet mostly foreboding. Their outside might be manufactured from brick and mortar, timber and finger nails yet every inches of those stark membranes were created in black blood, corroded veins and a menacing beast that aches with ghosts of history.