Post-Partum Document (PPD) is an archive of objects that represent the pleasures Mary Kelly's maternal figure takes in caring for her child. PPD engages with the psychoanalytic narrative to rewrite the positioning of maternal femininity. The 'Introduction' to PPD consists of four infant vests made of yellow wool. The first chapter of PPD, 'Documentation I: Analyzed Fecal Stains and Feeding Charts,' creates a more complicated relationship to maternal sentiment. PPD reflects and complicates the attention members of the Women's Movement paid to transforming the conditions of women's work and undoing the gendered division of labour. 'Documentation VI' replicates the form and visual appearance of the Rosetta Stone, the famous Egyptian stele inscribed with hieroglyphs, Demotic, and ancient Greek, to memorialise the loss that the child's acquisition of language represents. 'Documentation II' exemplifies Kelly's attention to the work that goes into the child's language acquisition.

This chapter explores how windows were used in two specific ecclesiastical interiors and what aspirations patrons and architects had for the stained glass in these churches: St Michael's Church at Sowton and St Mary's Church at Ottery St Mary. St Michael's Church at Sowton, near Exeter in Devon, is a rare survival: a remarkably complete ecclesiological interior. The restoration of St Mary's Church at Ottery St Mary presented a series of difficulties to its coordinator, John Duke Coleridge. The link between paternalism, Gothic and church patronage is physically built into the layout of the church and signalled by the interior fittings. The evangelist symbols represent an oblique allusion to John Garratt's evangelical activities through his reconstruction of the church. Coleridge was asserting an opinion about the nature of Anglican churches, and to him a church was for worshipping God through the performance of the sacraments.

This chapter investigates the legacy of the representation of family violence and domestic abuse in Twin Peaks. It shows how the Gothic mode subsequently flourished at the turn of the century in a number of long-running Gothic series and serials. For the sake of brevity, this examination of US Gothic television will focus on American Gothic and Millennium as case studies. Twin Peaks and American Gothic offer family-centred episodic narratives which are recognisable as American Gothic narratives, drawing on plots, characterisations and imagery which are easily identifiable within nationally specific Gothic convention. Millennium may initially seem more elusive in terms of generic categorisation. The argument that Gothic serial drama in the US made during the 1990s showcased innovations and changes within the television industry evokes a characterisation of the industry prior to and during this decade. This characterisation has been carefully outlined in John Thornton Caldwell's Televisuality.

This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book investigates discursive structures intermittently recurring through Gothic writing. It explains that the intertextual readings form the methodological lynchpin for interpreting Gothic writing as self-aware debate on the character of the subject. The book argues that before one can theorize the Gothic as a response to a 'gap in the social subject' one needs to recoup the Gothic's contemporaneous meanings, itself a theoretical task. The book adopts Michel Foucault's 'genealogy' as the theoretically sensitive model of literary history. The book discusses the common usage of 'ideology' as referring to configurations of national or class values individuals might find themselves associated with, as for instance, 'liberalism' or the 'Freeborn Briton'.

Christianity has affinity with liberal universalism to the extent that it warrants faith that all humans are capable of improvement, regardless of their 'race'. Certain colonised intellectuals developed forms of liberal universalism that enabled critical commentary on prolonged tutelage. To illustrate the anti-colonial resourcefulness of the liberalisms of the colonised, this chapter quotes from the writings of five indigenous intellectuals: Peter Jones, Charles Eastman, Zitkala-Ša, Apirana Ngata and William Cooper. For Cooper, the Empire was a realm of universality, not in the sense that it embraced all of humanity but in the sense that it was not racially exclusive: every native people would have its chance, if British ideals were realized. Karuna Mantena has argued persuasively that John Stuart Mill's liberalism was unstable in a way characteristic of 'the structure of imperial ideology'.