In the robust and expanding field of Gothic studies, William Blake remains a spectral, marginal figure. Bundock and Effinger’s Introduction opens by exploring Blake’s prominence in contemporary Gothic art and culture, a fact made ironic given the relative dearth of scholarly work on Blake’s Gothic sensibility. Bundock and Effinger suggest how the Gothic as an historiographical, affective, and aesthetic concept might inform Blake in several substantial ways. The Introduction then expands in four directions. The first considers terror, horror, and the ‘Gothic body’ in Blake. The second considers the intersection of Blake and the Gothic in terms of visual art and iconography. The third surveys extant criticism on Blake and the Gothic to illustrate the hitherto missed opportunity this collection attempts to take. The fourth and final section is a ‘descriptive catalogue’ of the chapters that follow, offering summaries of each contribution and explaining the order of presentation.