Tag: Rock and Roll

Rock and Romanticism: scholarship with a soundtrack. Yes, I have two anthologies with the main title Rock and Romanticism. The first was published early February 2018 by Lexington Books, and was focused on Blake and Wordsworth and, very generally, the genre of classic rock.

This second book is Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms (Palgrave Macmillan, forthcoming late May 2018) and is focused just where the title implies: on the gothic or “dark Romanticism” as it is sometimes called and on its musical counterparts in rock. The first book states a thesis about the relationship between rock and roll and Romanticism. This book restates that thesis and then extends it to different genres of music and literature.

This page provides chapter descriptions and a lot more. If you liked the first book, you’ll like this one too: those interested in one really need to get both. If you’re drawn to this project, please consider requesting that your libraries order it. A more formal description of the project follows.

Because I’ve recently published two edited anthologies with the same top title, I’ve created this video explaining the origin of these books and the differences between the two:

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The edited anthology Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms (Palgrave Macmillan, 2018) is now available for preorder on the publisher’s website and will ship in late May 2018. I’m providing information here for potential readers, reviewers, and college and university librarians who may be interested in this book. If you wish to review this anthology for your publication, please contact James Rovira at jamesrovira@gmail.com with your name, credentials, and the name of the publication for which you wish to review this work.

But I’d like to provide a bit of personal history before I get into details about the book: my introduction to English Romanticism (my first way in to the vast labyrinth that is “Romanticism”) occurred in two stages. First, through the song “William Blake” on the Daniel Amos album Vox Humana (1984). That song made me run to the local B. Dalton Booksellers (remember those?) to pick up a copy of The Viking Portable William Blake.

I read it through the first time, cover to cover, in a befuddled haze, but I loved it. Daniel Amos, “William Blake,” Vox Humana:

Next, when my undergraduate English Romantics professor at Rollins College, Dr. Roy Starling, wanted to explain to his students what the publication of Lyrical Ballads meant to the 1790s, he compared it to this moment in rock history, the moment when Bob Dylan the folk singer plugged in and went electric:

And that was how I first understood Romanticism as a literary phenomenon. Thank you, Dr. Starling. In both cases, my way in to Romanticism was rock music from the 1960s to the 1980s.

Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms explores the relationships among the musical genres of post-punk, goth, and metal and seventeenth- to nineteenth-century American and European Romanticisms in their literary, artistic, and musical expressions. It argues that these contemporary forms of music are not only influenced by but are an expression of Romanticism continuous with their seventeenth- through nineteenth-century influences. Figures such as Blake, Wordsworth, Coleridge, Byron, Keats, Mary Shelley, Percy Shelley, Friedrich, Schlegel, Beethoven, and Hoffman are brought alongside the musical and visual aesthetics of the Rolling Stones, the New Romantics, the Pretenders, Joy Division, Nick Cave, Tom Verlaine, emo, Eminem, My Dying Bride, and Norwegian black metal to explore the ways that Romanticism continues into the present in its many varying forms and expressions. Book details:

Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms ~ James Rovira, ed. ~ Hardcover ISBN 978-3-319-72687-8 ~eBook ISBN 978-3-319-72688-5 ~ DOI10.1007/978-3-319-72688-5 ~ pp. 330 ~ hardcover: $109.00 (£80.00); ebook: $84.99 (£63.99). This collection is part of the series Palgrave Studies in Music and Literature, P. Lumsden and M. Katz Montiel, editors.

Chapters are listed below. Many and profuse thanks M. Katz Montiel for being a great series editor (he made every chapter better), to Palgrave Macmillan’s editorial team, and to Dr. Mark McCutcheon (see the Nick Cave chapter description) for his work assembling these playlists. After the Preface and Introduction, songs are arranged in the order in which they appear in the chapter.

I’ve created iTunes playlists for each chapter that are linked within chapter descriptions. Also check out the iTunes Master Playlist for this anthology that combines all available songs (over 200) and the Spotify Master Playlist.

Preface and Introduction: “Theorizing Rock/Historicizing Romanticism” James Rovira. Check out his iTunes profile.

• Chapter summary
  • James Rovira’s Preface (pp. vii-ix) and Introduction (pp. 1-25) to Rock and Romanticism describe the origins of this project, the difficulty in defining the term “Romanticism” in reference to British literature from Byron to the present, how Sayre and Löwy’s Romanticism Against the Tide of Modernity helps address these problems in a way supportive of this project, and the links between rock and Romanticism as they have surfaced in scholarship and other writing since the 1960s. His discussion then continues into an examination of the relationship between Gothic and Romantic literature, which leads to the claim that John Milton was not just a source of inspiration for English Romantic poets but was himself the first English Romantic poet (thus, “seventeenth- through nineteenth-century” Romanticisms referenced above rather than just “eighteenth- and nineteenth-century”). After that, Rovira provides chapter summaries. Within these chapter summaries, he engages some of the issues related to the female Gothic as they arise in chapter discussions.
• Music (this playlist excludes mention of artists or songs discussed in other chapters)
  • Ludwig van Beethoven, “Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio”
  • Daniel Amos, “William Blake“
  • The Doors, “End of the Night“
  • Bob Dylan
    • 1965 Newport Festival
    • “Every Grain of Sand”
  • Emerson, Lake & Palmer, “Jerusalem“
  • The Fugs
    • “Ah, Sunflower, Weary of Time”
    • “Auguries of Innocence”
  • Iron Maiden, “Rime of the Ancient Mariner”
  • The Kinks, “You Really Got Me”
  • Led Zeppelin, “Communication Breakdown”
  • Martha Redbone Roots Project, “A Poison Tree“
  • MC5, “Kick Out the Jams”
  • Patti Smith, “My Blakean Year“
  • U2
    • “Beautiful Ghost / Introduction to Songs of Experience”
    • Songs of Innocence
    • Songs of Experience
  • Venom, “Black Metal”
• Literature
  • Mary Wollstonecraft, A Vindication of the Rights of Woman
  • Byron, response to a review of Manfred by Goethe in an October 17, 1820 letter to Murray.
  • Rousseau.
  • E.T.A Hoffman on Beethoven’s 5th. Steven Cassedy’s “Beethoven the Romantic: How E.T.A. Hoffman Got It Right” is very helpful in understanding Hoffman’s writing on Beethoven. Just a question: if rock is Romanticism, and if Beethoven’s 5th inaugurated Romanticism in music, was Beethoven’s 5th the first appearance of rock?
  • Kant, Critique of Pure Reason
  • The Schlegels, from The Athenaeum
  • Mario Praz, The Romantic Agony 
  • Freud, Collected Works
  • Kierkegaard, The Concept of Anxiety (Dread in an earlier translation)
  • John Milton, Paradise Lost
  • Percy Shelley, A Defence of Poetry
  • Samuel Taylor Coleridge, “Rime of the Ancient Mariner“
  • John Keats
  • Mary Shelley, Frankenstein
  • Edgar Allan Poe
  • Baudelaire
  • Swinburne
  • Novalis
  • Goethe
• Get the iTunes playlist

1. “Empathy for the Devil: The Origins of Mick Jagger’s Devil in John Milton’s London” (pp. 27-44) by Evan LaBuzetta, Ph.D., Cambridge University. Independent scholar, founder of Writling Language Consultants.
   • Chapter summary
     • Evan LaBuzetta’s “Empathy for the Devil: The Origins of Mick Jagger’s Devil in John Milton’s London” analyzes the political discourse and outlines the discursive practices that influenced John Milton in his development of the character of Satan in Paradise Lost. Milton’s Satan was reinterpreted by the Romantics and later appropriated by Mick Jagger in “Sympathy for the Devil.” According to LaBuzetta, the rise of personal interpretation of Scripture in an era of vicious conflict led various combatants in the English Civil Wars to identify their domestic opponents with Satan. In pamphlets, writers could insist on their opponents’ Satanic origins regardless of outward appearance—because Satan can transform himself into an “angel of light”—while at the same time positing their own demonization as a sign of the righteousness of their cause. Through the English Civil Wars, rebellion against civil authority came to be seen as different than rebellion against God, establishing a “paradox of individual authority” by the time of Milton’s writing. Once God is dethroned as a “self-justifying principle,” a writer like Shelley could thrill to the active, virile, self-confident aspects of Satan’s character and declare that Milton’s Satan is far preferable to Milton’s God. Milton anthropomorphized Satan, and later readers came to see him in personal, non-religious terms: as a heroic individual striving against a tyrannical, self-imposing force, one with whom readers or rock fans could empathize.
   • Music
     • The Beatles, Sgt. Pepper’s Lonely Hearts Club Band
     • The Rolling Stones
       • Beggar’s Banquet
       • Their Satanic Majesty’s Request
       • “Sympathy for the Devil”
       • “(I Can’t Get No) Satisfaction”
       • “Citadel” (from Their Satanic Majesties Request, 1967)
       • “Sympathy for the Devil” live (from Get Yer Ya Ya’s Out, 1970)
       • “Paint It Black”
       • “Gimme Shelter”
       • “Monkey Man”
   • Literature
     • John Milton
       • Paradise Lost
       • Eikonoklastes 
       • The Reason of Church Government
       •  A Treatise of Civil Power 
     • Baudelaire, Fusees
     • Percy Shelley
       • A Defence of Poetry
       • Adonais
     • Dante, Inferno 
   • Get the iTunes playlist
2. “‘Bliss was it in that shirt to be alive’: Connecting Romanticism and New Romanticism Through Dress” (pp. 45-59) by Emily Bernhard Jackson, Lecturer, University of Exeter.
   • Chapter summary
     • Skipping ahead about ten years after the Stones expressed sympathy for the devil, Emily Bernhard-Jackson’s “The Semiotics of the Ruffled Shirt: Connecting Romanticism and New Romanticism” shifts focus from linguistic content to visual surfaces in her comparison of the New Romantics of the early 1980s to English Romantics such as Byron. Rejecting the assumption that the New Romantics were glib and apolitical, she asserts their carefully managed, glittering surfaces were acts of subversion within Thatcher’s England, and these rock stars’ androgyny and even specific fashion choices—such as the ruffled shirt—carefully and not just coincidentally parallel second generation English Romantics such as Byron. Fluidity of sexual identity served the purpose of resisting full industrialization during 1980s’ England in a way parallel to the poets’ resistance of incipient industrialism in Romantic England, making dandyism and glitter statements against the brutal grayness of the working-class employment described by Löwy and Sayre, a very observable “mechanized conquest of the environment” under industrialization.
   • Music
     • Scritti Politti, “Perfect Way”
     • Spandau Ballet, “True”
     • Ultravox, “Dancing With Tears in My Eyes”
     • Japan, “Ghosts”
     • Duran Duran, “Planet Earth”
     • Adam and the Ants
       • “Stand and Deliver“
       • “Prince Charming”
     • Kraftwerk
     • Can
     • Faust
     • David Bowie
   • Literature
     • William Blake
     • Byron
       • Eastern Tales
       • Don Juan, Canto XI
       • This chapter invites readers to compare George Henry Harlow’s 1814 engraving of Byron to one of Adam Ant’s publicity stills for Prince Charming. See the images page for this chapter.
     • Samuel Taylor Coleridge
     • John Keats
     • T.E. Lawrence, Lawrence of Arabia
     • Sir Walter Scott
     • Percy Shelley
     • William Wordsworth
       • Preface to Lyrical Ballads
       • The Prelude
   • Get the iTunes playlist
3. “‘Crying Like a Woman ‘Cause I’m Mad Like a Man’: Chrissie Hynde, Gender, and Romantic Irony” (pp. 61-82) by Sherry R. Truffin, Associate Professor of English, Campbell University.
   • Chapter summary
     • Sherry Truffin’s “‘Crying Like a Woman ‘Cause I’m Mad Like a Man’: Chrissie Hynde, Gender, and Romantic Irony” focuses on Chrissie Hynde as the frontwoman for the Pretenders. Truffin considers in Hynde’s lyrics, autobiography, and other resources the ways in which Hynde negotiated her rare position as a female lead singer and rhythm guitarist for an otherwise male rock band. Drawing from Löwy and Sayre, Truffin observes how Hynde resorts to Romantic irony as defined by Schlegel and Anne Mellor to negotiate tensions between the influences of the relatively undeveloped Akron, OH of her early childhood and the industrial city that Akron later became. Truffin also explores how Hynde negotiates her conflicting views of her own female identity by adopting masculine, feminine, and androgynous identities in turns. These tensions ultimately cause Gothic sensibilities to surface in many of Hynde’s songs as her female identity is expressed through Gothic tropes and situations: she suffers violent abuse from men, refuses to complain about that treatment or accept victim status, and then uses that refusal as a means of asserting her own agency.
   • Music:
     • The Pretenders
       • “Brass in Pocket“
       • “Birds of Paradise“
       • “My City Was Gone”
       • “Waste Not, Want Not”
       • “Middle of the Road”
       • “Money Talk”
       • “Dance”
       • “Hold a Candle To This”
       • “Revolution”
       • “Break Up the Concrete”
       • “You Know Who Your Friends Are”
       • “Don’t Get Me Wrong”
       • “Complex Person”
       • “When I Change My Life”
       • “Up the Neck”
       • “The Adulteress”
       • “Almost Perfect”
       • “I’ll Stand By You”
       • “Lie to Me”
       • “Mystery Achievement”
       • “My Baby”
       • “Kinda Nice, I Like It”
       • “I Should Of”
       • “Tattooed Love Boys”
       • “Lovers of Today”
       • “Clean-Up Woman”
       • “Precious”
       • “Bad Boys Get Spanked”
       • “I’m a Mother”
       • “Sense of Purpose”
       • “I Hurt You”
       • “977”
   • Literature
     • Jack Kerouac
     • Friedrich Schlegel
     • William Blake
     • Samuel Taylor Coleridge
     • Virginia Woolf
   • Get the iTunes playlist
4. “A Northern ‘Ode on Melancholy’?—The Music of Joy Division” (pp. 83-100) by Caroline Langhorst, Ph.D Candidate, University of Mainz.
   • Chapter summary
     • Further complicating sexual identity, the female, and the Gothic is Caroline Langhorst’s “A Northern ‘Ode on Melancholy’?—The Music of Joy Division.” Her essay inverts the legacy of female Gothic by shifting its focus to the death of a beautiful man. It engages Joy Division’s Ian Curtis as a Romantic figure who follows the Gothic pattern of the dead, young artist, a familiar pattern established by Keats, Shelley, and Byron. Identifying industrial Manchester as the context for Joy Division’s music, Langhorst finds in it the sense of alienation and isolation Löwy and Sayre describe as the inevitable outcome of the industrialized subject. Byron and Keats are especially important as predecessors of Ian Curtis. Curtis, Byron, and Keats share in common a cult of personality inextricably bound up with their early deaths which, afterwards, came to define the reception of these artists’ creative production. Parallels with Keats are also extended to an emphasis on the necessity of suffering.
   • Music
     • Joy Division
       • “Atmosphere”
       • “Atrocity Exhibition”
       • “Heart and Soul”
       • “New Dawn Fades”
       • “Dead Souls”
       • “Disorder”
       • “Insight”
       • “Decades”
       • “Love Will Tear Us Apart”
       • “Shadowplay”
       • “Atrocity Exhibition”
       • “Day of the Lords”
       • “She’s Lost Control”
       • “Passover”
       • “Twenty-Four Hours”
     • Antmusic, “Deutscher Girls”
     • Joy Division, “I Remember Nothing”
   • Literature (many passing references excluded)
     • Byron
       • “The Giaour”
       • “When We Two Parted“
     • John Keats
       • “Sonnet to Chatterton“
       • Lamia
       • Hyperion
       • “Ode to a Nightingale”
       • “Ode on Melancholy”
     • Friedrich Engels, The Condition of the Working Class in England
     • Elizabeth Gaskell
       • Mary Barton
       • North and South
     • George Orwell, The Road to Wigan Pier
     • Caspar David Friedrich, Wanderer above the Sea of Fog
     • Johann Wolfgang von Goethe, The Sorrows of Young Werther
     • Samuel Taylor Coleridge, “Monody on the Death of Chatterton“
     • Alfred de Vigny, Chatterton
     • Ruggero Leoncavallo, Chatterton (opera)
     • Henry Wallis, The Death of Chatterton
     • Percy Shelley
       • Adonais
       • Zastrozzi: A Romance
     • Henry David Thoreau, Walden
     • William Wordsworth, “My heart leaps up. . .“
     • Charles Baudelaire, “The Painter of Modern Life”
     • Sheridan Le Fanu, Uncle Silas, In a Glass Darkly
     • Bram Stoker, Dracula
     • Wagner, Tristan and Isolde
   • Get the iTunes playlist
5. “‘Little crimeworn histories’: Nick Cave and the Roots-Raves-Rehab Story of Rock Stardom” (pp. 101-120) by Mark McCutcheon, Professor of Literary Studies, Athabasca University. Check out his blog.
   • Chapter summary
     • Mark A. McCutcheon shifts the locus of suffering to substance abuse in “‘Little crimeworn histories’: Nick Cave and the Roots-Raves-Rehab Story of Rock Stardom.” McCutcheon examines the commodification of the Romantic tropes of drug use and of the self-destructive artist using Nick Cave as a case study. The art/commerce opposition established within Romantic texts to emphasize the authenticity of the poet/artist has, according to McCutcheon, become a part of the commerce of the music industry in the form of a Roots-Rave-Rehab narrative that governs discourse about artists’ drug use and recovery. In other words, Romantic tropes have been appropriated to serve capitalist ends. McCutcheon’s chapter considers how Nick Cave both exploits and resists this appropriation using a number of strategies, including an exploitation and modification of the traditional Gothic/Romantic trope of the dead woman.
   • Music
     • Nick Cave, “The Singer” (by Johnny Cash)
     • Johnny Cash, “The Mercy Seat” (by Nick Cave)
     • The Birthday Party, “King Ink”
     • Grinderman, “Get It On”
     • Nick Cave and The Bad Seeds featuring Kylie Minogue, “Where the wild roses grow”
     • Nick Cave and The Bad Seeds
       • “Deanna”
       • “Up Jumped the Devil“
       • “There She Goes, My Beautiful World”
       • “When I First Came to Town”
       • “The Mercy Seat”
       • “When I First Came to Town”
       • “The Mercy Seat”
       • “Watching Alice”
       • “City of Refuge”
       • “Sugar Sugar Sugar”
       • “New Morning”
       • “Song of Joy”
       • “Death Is Not The End”
       • “Henry Lee”
   • Literature
     • Theodor Adorno, “On the Fetish-Character of Music and the Regression of Listening“
     • Mikhail Bahktin, “Forms of Time and of the Chronotope in the Novel“
     • Nick Cave, And the Ass Saw the Angel
     • Byron
       • Manfred
       • Childe Harold’s Pilgrimmage
       • Don Juan
     • Caroline Lamb
     • Thomas de Quincey, Confessions of an English Opium-Eater
     • Samuel Taylor Coleridge, “The Rime of the Ancient Mariner“
     • Novalis
     • Goethe
     • The Faust myth
     • Wordsworth and Coleridge, Lyrical Ballads
     • Emily Brontë, Wuthering Heights
     • Edgar Allan Poe, “The Philosophy of Composition”
   • Get the iTunes playlist
6. “Postcards from Waterloo: Tom Verlaine’s Historical Constellations” (pp. 121-143) by Len von Morzé, Associate Professor of English, University of Massachusetts, Boston.
   • Chapter summary
     • Capitalizing on the anxieties and ambivalence surrounding the figure of Napoleon, Len von Morzé’s “Postcards from Waterloo: Tom Verlaine’s Historical Constellations” explores Verlaine’s use of repetition in his appropriation of Napoleon’s Waterloo as well as Romantic-era texts in order to create contexts for his own work. Von Morzé describes how Verlaine “enframes” the past within his music to legitimate it, thus guiding his self-narrative. Comparing Verlaine to his one-time lover, collaborator, and peer Patti Smith for contrastive purposes, von Morzé emphasizes that Verlaine saw in his Romantic predecessors an “elective affinity” with the Romantics rather than the stronger sense of reenactment Smith had during this period. Ultimately, von Morzé draws out compelling parallels between the two waves of English Romanticism and the two waves of punk rock, positioning Verlaine in a space between poetry and rock because he “could not fully embrace the commercial aspects of mass culture.”
   • Music
     • Tom Verlaine, “Postcard from Waterloo”
     • Television
       • “Little Johnny Jewel“
       • “The Dream’s Dream”
       • “Foxhole”
     • Tom Verlaine
       • “Flash Lightning”
       • “Coming Apart”
       • “Penetration”
     • Television
       • “Venus”
       • “Marquee Moon”
     • Tom Verlaine
       • “Without a Word”
       • “Present Arrived”
       • “Words From the Front”
     • Patti Smith, “Land: Horses / Land Of a Thousand Dances / La Mer(de)”
     • The Ramones, “I Just Want To Have Something To Do”
     • ABBA, “Waterloo”
   •  Literature
     • Hegel, Lectures on the Philosophy of History
     • Walter Benjamin
       • Illuminations
       • “Theses on the Philosophy of History“
     • Karl Marx, “The Eighteenth Brumaire of Napoleon Bonaparte“
     • Beckett, Waiting for Godot
     • Patti Smith, Collected Lyrics
     • Arthur Rimbaud, Une Saison en Enfer
     • William Blake
     • Samuel Taylor Coleridge
       • “Kubla Khan“
       • “The Eolian Harp“
     • John Keats
       • Letter to George and Tom Keats, 21 or ?27 December 1817 describing “negative capability“
       • “La Belle Dame Sans Merci”
     • Tom Verlaine and Patti Smith, The Night
     • Walt Whitman
     • Allen Ginsberg
     • William Wordsworth, “Lucy” poems
     • Charles Baudelaire
     • Emily Dickinson
   • Get the iTunes playlist
7. “Manner, Mood, and Message: Bowie, Morrissey, and the Complex Legacy of Frankenstein” (pp. 145-161) by Samuel Lyndon Gladden, Associate Dean of the School of Human Sciences and Humanities and Professor of Literature, University of Houston, Clear Lake.
   • Chapter summary
     • Samuel Gladden shifts focus to monstrosity in “Manner, Mood, and Message: Bowie, Morrissey, and the Complex Legacy of Frankenstein.” He compares Bowie’s and Morrissey’s appropriations of the figure of Frankenstein’s Creature to explore their differing responses to isolation and loneliness. In Gladden’s account, Bowie focuses on the discardedness of the Creature as he adopts and discards personae just as Frankenstein abandoned his Creature. Bowie ultimately gathers up many of his previous personae in the song and video “Blackstar,” particularly his first personae, Major Tom, who allows Bowie to revisit the trope of being in an alien environment in anticipation of his own impending death. Morrissey, on the other hand, focuses his attention on the Frankensteinian themes of hybridity or bricolage in “November Spawned a Monster,” emphasizing that Morrissey adopted as his own the hybridity or bricolage associated with the Creature through a variety of personae with disabilities, all of them set within an “idealized past.” The disfigurements of the subject described by Löwy and Sayre, therefore, assume material form in Morrissey’s various personae.
   • Music
     • Madonna, “Frozen”
     • David Bowie
       • “Ziggy Stardust”
       • “Aladdin Sane”
       • “Station to Station”
       • “The Next Day”
       • “Heathen”
       • “Heroes”
       • “Blackstar” music video
       • “Outside”
       • “Fashion” music video
       • “Ashes to Ashes” music video
       • “Where Are We Now?” music video
     • Morrissey,
       • “November Spawned a Monster”
       • “At Amber”
       • “Mute Witness”
     • David Bowie, “I Am With Name”
     • The Smiths, “Vicar in a Tutu”
   • Literature
     • Mary Shelley
       • Frankenstein; or, The Modern Prometheus (full, professionally edited text at Romantic Circles Reviews and Receptions)
       • See the Shelly-Godwin Archive for images of the handwritten manuscripts and Charles Robinson’s careful curatorial work.
       • Biblion page at the New York Public Library for Frankenstein.
     • John Milton, Paradise Lost
   • Get the iTunes playlist
8. “Tales of the Female Lover: the Poetics of Desire in To Bring You My Love and Is This Desire?” (pp. 163-181) by Catherine Girodet, Ph.D. candidate Université Paul Valéry – Montpellier, and faculty, English Department, Universitie De Creteil.
   • Chapter summary
     • Returning to the female Gothic, Catherine Girodet’s “Tales of the Female Lover: the Poetics of Desire on To Bring You My Love and Is This Desire?” begins with the groundwork laid down by Mario Praz in The Romantic Agony and then continued by Abrams and Henderson and others in her exploration of dark Romantic themes in the music of P.J. Harvey. Girodet is particularly interested in the agonies of romantic love as formulated in Harvey’s third and fourth albums, which represent a change in musical direction for Harvey and her first forays into Romanticism. She also explores the implications of Harvey’s music for our consideration of the relationship between the Gothic and the Romantic and how in Harvey’s music the agony of love serves as a conduit to the sublime.
   • Music
     • PJ Harvey
       • “To Bring You My Love”
       • “Is This Desire?”
       • “Dress”
       • “Rid of Me”
       • “Reeling”
       • “Long Snake Moan”
       • “I Think I’m a Mother”
       • “Meet Ze Mostra”
       • “White Chalk”
       • “Angelene”
       • “Send His Love To Me”
       • “Teclo”
       • “C’mon Billy”
       • “Catherine”
       • “The Dancer”
       • “The Sky Lit Up”
       • “The Garden”
       • “The River”
       • “Down By The Water”
       • “No Girl So Sweet”
       • “Let England Shake”
   • Literature
     • Mario Praz, The Romantic Agony 
     • Samuel Taylor Coleridge
       • “Kubla Khan“
       • “The Rime of the Ancient Mariner“
     • John Keats, Letter to Reynolds 3 May 1818
     • Byron
       • Canto XIV
       • Don Juan
     • William Hazlitt, Liber Amoris
     • Percy Bysshe Shelley, “On the Medusa of Leonardo da Vinci in the Florentine Gallery“
     • Charlotte Smith, “Sonnet XXI: Supposed to be Written by Werther”
     • Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful
     • William Wordsworth, The Excursion
   • Get the iTunes playlist
9. “Emocosms: Mind-Forg’d Realities in Emo(tional) Rock Music” (pp. 183-197) by Eike Träger, Ph.D. candidate, University of Cologne, Köln, Germany.
   • Chapter summary
     • Romantic artists at times exploit dark moods for artistic purposes. Eike Träger’s “The World Is Mine: Pathetic Fallacy and Mind-Forg’d Realities in Emo(tional) Rock Music” identifies the pathetic fallacy and heterocosm as two points of affinity between English Romanticism and emo music. Relying on Sayre’s and Löwy’s “Romanticism Against the Tide of Modernity,” Träger sees in emo “a Weltschmerz that literally creates a cosmos of pain in lyrical form” in the music of bands such as The Danburrys, the Deftones, AFI, and La Dispute. Setting up and then dismantling Ruskin’s theory of art as means of explaining emo music, he ultimately argues that emo bands are aligned with “resigned” Romanticism in Sayre’s and Löwy’s taxonomy: emo music is a form of Romanticism in its emphasis on affect and the individual, but because it is distinctly apolitical, it differs from both first and second generation English Romantics.
   • Music
     • The Danburrys, “Emo’s Just Another Name For Romanticism”
     • My Chemical Romance, “Our Lady of Sorrows”
     • All Time Low, “Kids in the Dark”
     • The Used, “Bulimic”
     • Silverchair, “Miss You Love”
     • Dashboard Confessional, “Screaming Infidelities”
     • AFI, “Miseria Cantare (The Beginning)”
     • Finch, “What It Is to Burn”
     • AFI, “Death of Seasons”
     • La Dispute, “Hudsonville, MI 1956”
   • Literature
     • William Wordsworth
       • “Anecdote for Fathers”
       • Preface to Lyrical Ballads
     • Samuel Taylor Coleridge
     • John Keats, “O Solitude! If I Must With Thee Dwell”
     • Oscar Wilde, The Picture of Dorian Gray
     • John Ruskin, Modern Painters III
     • Percy Bysshe Shelley
       • “To Jane: the Invitation”
       • “Ode to the West Wind”
     • William Blake
       • “London”
       • Songs of Innocence
     • Byron
   • Get the iTunes playlist
10. “‘I possess your soul, your mind, your heart, and your body’: External and Internal Gothic Hauntings in Eminem’s Relapse” (pp. 199-213) by Christopher Stampone, Ph.D., Southern Methodist University.
    • Chapter summary
      • Christopher Stampone’s “‘I possess your soul, your mind, your heart, and your body’: External and Internal Gothic Hauntings in Eminem’s Relapse” focuses on Eminem’s pivotal albums Relapse (2009) and its follow-up, Relapse: Refill (2010), as instances of contemporary Romantic Gothic. Defining these albums as attacks on American consumer culture, Stampone employs Sayre and Löwy to describe the features of that attack, much of which takes the form of resigned Romanticism, so that resignation can be a form of resistance. Stampone also describes how Eminem’s alter egos, such as Slim Shady, represent his drug-ridden self, one that is implicated in capitalist-consumer culture but for which Eminem now takes responsibility. Overall, Eminem’s Relapse albums hold up a mirror to modern US consumerism in which “all become monsters whose identities are constructed by what they consume.”
    • Music
      • Eminem
        • “Dr. West (Skit)”
        • “We Made You”
        • “Paul (Skit)”
      • Eminem & Paul “Bunyan” Rosenburg, “Paul (Skit)”
      • Eminem, Dr. Dre & 50 Cent, “Crack a Bottle”
      • Eminem,
        • “Stan”
        • “3 A.M.”
        • “Insane”
        • “Medicine Ball”
        • “Underground”
        • “Buffalo Bill”
        • “Music Box”
        • “Stay Wide Awake”
        • “My Mom”
        • “Cleaning Out My Closet”
      • Eminem featuring Nate Ruess, “Headlights”
      • Eminem
        • “Hello”
        • “My Name Is”
        • “Same Song & Dance”
        • “Déjà Vu”
        • “Mr. Mathers (Skit)”
        • “My Darling”
        • “The Real Slim Shady”
        • “White America”
        • “Elevator”
        • “Careful What You Wish For”
    • Literature
      • Wordsworth and Coleridge, Lyrical Ballads
      • Horace Walpole, The Castle of Otranto
      • Nathaniel Hawthorne, The House of the Seven Gables
      • Samuel Taylor Coleridge, “The Rime of the Ancient Mariner“
      • Mary Shelley, Frankenstein; or, The Modern Prometheus 
      • William Beckford, Vathek
      • Byron
      • Thomas De Quincey, Confessions of an Opium Eater
    • Get the iTunes playlist
11. “‘The Female Is Such Exquisite Hell’: The Romantic Agony of My Dying Bride” (pp. 215-233) by Matthew J. Heilman, Ph.D., Duquesne University.
    • Chapter summary
      • Matthew Heilman’s “‘The Female Is Such Exquisite Hell’: The Romantic Agony of My Dying Bride” engages Poe’s emphasis on the “death of the beautiful woman” to evaluate My Dying Bride’s work as instances of feminist Romanticism. Through artist interviews and song analysis, Heilman explores central tropes of dark Romanticism—the dead or dying woman and the femme fatale—in both My Dying Bride’s lyrics and in the poetry of Poe, Keats, Baudelaire, and Swinburne to argue that My Dying Bride’s lyrics exploit nineteenth-century dark Romantic tropes of the woman to deconstruct them.
    • Music
      • Paradise Lost, “As I Die”
      • Anathema, “They (Will Always) Die”
      • Siouxsie and the Banshees, “Cities in Dust”
      • Bauhaus, “The Three Shadows, Part 2”
      • The Sisters of Mercy, “This Corrosion”
      • Black Sabbath, “Iron Man”
      • Saint Vitus, “Return of the Zombie”
      • Candlemass, “The Well of Souls”
      • Celtic Frost, “Inner Sanctum”
      • Evoken, “In Pestilence, Burning”
      • Skepticism, “The Raven and The Backward Funeral”
      • My Dying Bride
        • “For You”
        • “Sear Me MCMXCIII”
        • “Black Voyage”
        • “Like Gods of the Sun”
        • “L’Amour Detruit”
        • “The Thrash of Naked Limbs”
        • “The Sexuality of Bereavement”
        • “God Is Alone”
        • “The Songless Bird”
        • “The Cry of Mankind”
        • “The Return of the Beautiful”
        • “For My Fallen Angel”
        • “The Light at the End of the World”
        • “Your River”
        • “The Night He Died”
        • “Sear Me”
        • “The Blue Lotus”
        • “The Prize of Beauty”
        • “A Sea to Suffer In”
        • “The Dreadful Hours”
    • Literature
      • William Shakespeare
        • Romeo and Juliet 
        • Venus and Adonis
      • Edgar Allan Poe
        • “The Philosophy of Composition”
        • “The Raven”
        • “Annabel Lee”
        • “The Oval Portrait”
      • Charles Baudelaire, “Metamorphosis of a Vampire”
      • John Clare, “An Invite to Eternity”
      • Emily Brontë, Wuthering Heights
      • Thomas Hardy, Jude the Obscure
      • D.H. Lawrence, Women in Love
      • John Keats
        • “Think Not of It, Sweet One”
        • “La Belle Dame Sans Merci”
      • Algernon Charles Swinburne, “Laus Veneris”
      • Percy Bysshe Shelley, “Stanzas Written in Dejection”
      • William Wordsworth, The Prelude
      • Samuel Taylor Coleridge, “The Rime of the Ancient Mariner“
      • Christina Rossetti, “In an Artist’s Studio”
      • Bram Stoker, Dracula
      • Théophile Gautier, “La Morte Amoureuse”
    • Get the iTunes playlist
12. “Ashes Against the Grain: Black Metal and the Grim Rebirth of Romanticism” (pp. 235-257) by Julian Knox, Assistant Professor of English, Georgia College.
    • Chapter summary
      • This collection ends with Julian Knox’s “Ashes Against the Grain: Black Metal and the Grim Rebirth of Romanticism.” The genre of rock called “heavy metal” is often said to have begun in the 1970s with the bands Led Zeppelin and Black Sabbath, but heavy metal has since branched out into a variety of subgenres, including thrash, death, doom, and even folk metal, which blends regional folk music and traditional instrumentation with heavy metal. Knox argues that one of these subgenres, black metal, self-consciously draws from and then exceeds, sometime ironically, Gothic and dark Romantic literary tropes to promulgate an aesthetic of death and decay that one black metal musician called “Werewolf Romanticism.” Knox explores bands such as Burzum, Mayhem, Xasthur, and Varathron and their uses of Romantic-era literature and painting by figures such as Shelley, Blake, Byron, Novalis, Goëthe, and Freidrich to define Romantic rejection of the pastoral—which was seen by figures such as Novalis and Hoffmann as capitulation to power structures—as a form of inwardness or psychologizing. These figures explore Plato’s cave as the skull of the mind, the collective voices of the dead, to assert or affirm their individuality against capitalism.
    • Music
      • Note: many passing references to music, literature, and artworks are excluded from this list. If a specific song was not available, or if an album was mentioned but not a specific song, representative examples were taken for the iTunes playlist.
      • Black Sabbath, “Killing Yourself to Live“
      • Todd Rundgren, The Ever-Popular Tortured Artist Effect
      • Billy Joel, “Only the Good Die Young“
      • Barzum
        • Filosofem
          • “Dunkelheit”
        • Aske
      • Mayhem, De Mysteriis Dom Sathanas
      • Xasthur, “Telepathic with the Deceased“
      • Arcana Coelestia
      • Varathron, His Majesty at the Swamp
      • Judas Iscariot
        • “Portions of Eternity Too Great for the Eye of Man”
        • Arise, My Lord. . .
        • Of Great Eternity 
      • Pest Productions, Der Wanderer über dem Nebelmeer
      • Caladan Brood, Echoes of Battle, “Wild Autumn Wind“
      • Rotting Christ, “One With the Forest”
      • Carpathian Forest, “Return of the Freezing Winds”
      • Horn, “The Fading Landscape’s Glory”
      • Vargsang, Throne of the Forgotten
      • Nargaroth, Geliebte des Regens [Beloved of the Rain]
      • Agalloch, “Falling Snow“
      • Wolves in the Throne Room
      • Botanist, “The Verdant Realm“
      • Mayhem, “Pagan Fears”
      • Nagelfar, “Seelenland” in Hünengrab im Herbst
      • Xasthur, To Violate the Obvious
    • Literature
      • William Blake
        • “The Chimney Sweep” (I)
        • The Marriage of Heaven and Hell
        • “The Ecchoing Green“
      • William Cullen Bryant, “Thanatopsis“
      • Byron, “[A Fragment]”
      • Coleridge 
        • Aids to Reflection
        • “The Rime of the Ancient Mariner“
        • “Frost at Midnight“
        • “The Eolian Harp“
        • Lay Sermons
        • “Inscription for a Time-Piece“ 
        • Lectures on the History of Philosophy
      • Goethe
        • Faust
        • Wilhelm Meister’s Apprenticeship 
      • John Keats, “Ode to a Nightingale”
      • John Milton, Paradise Lost
      • Novalis, Hymns to the Night
      • Plato, Republic
      • Mary Shelley, Frankenstein; or, The Modern Prometheus 
      • Percy Bysshe Shelley
        • “Mont Blanc“
        • “Ode to the West Wind”
        • Prometheus Unbound
        • A Defence of Poetry
      • Charlotte Smith, “On Being Cautioned Against Walking on an Headland Overlooking the Sea, Because It Was Frequented by a Lunatic”
      • Wallace Stevens, “The Man Whose Pharynx Was Bad”
      • Jim Thompson, The Killer Inside Me
      • Tolkein, The Lord of the Rings 
      • William Wordsworth, “Tintern Abbey“
    • Get the iTunes playlist

Bibliography (pp. 259-278)
Discography (pp. 279-284)
Index (pp. 285-302)

Cover photo: Taylor Fickes.

Errata: if you see any errors on this page or in the book, please email James Rovira.