The idea for this volume began many years ago when two grad students col-
laborated on a proposal for a panel on gothic rock music. Since that time
goth subculture has enjoyed many transmutations and so has this project.
In those early days Casey Finch was a fellow co-editor and his untimely
death was a terrible blow. Many sympathetic spirits, inside and outside aca-
demia, supported and encouraged us in our fitful starts. We thank all for
their generosity, patience, and good grace. Goths in many parts of the
world have shared their experiences with us: this book is, of course, dedi-
cated to them. Though we cannot name everyone who deserves it, we thank
Aidan, Anthony, Caren, Juliet, Kirstie, Lilith, Ron, Slutboy, Trevor and
many more especially in Seattle, London, and Leeds. Count von Sexbat—or
Simon, if we may—knows how crucial he was to the early stages of this project
including his insightful comments on an early draft of the Introduction.We
thank Mick Mercer for his advice and example. In Seattle, former colleagues
including Srinivas Aravamudan, Kathleen Blake, Marshall Brown, Kate
Cummings, Jason Friedman, Susan Jeffords, Ranji Khanna, Steve Shaviro,
Henry Staten, John Toews, Priscilla Wald, France Winddance Twine, and
Shawn Wong were most generous as were Dagni Bredesen, David Hennes-
see, Tabitha Sparks, and Lauren Stasiak (now long past their student days).
In Champaign-Urbana, Peter Garrett, Jed Esty, Trish Loughran, Michael
Rothberg, Julia Saville, Siobhan Somerville, and Joe Valente were among
those who supported this book in various ways. In Shippensburg, the En-
glish Department faculty reading group (Sharon Harrow, Shari Horner,
Kim Long, Shannon Wooden, and Richard Zumkhawala-Cook) provided
much needed comment and encouragement. For their help with various
parts of the manuscript we thank Michael du Plessis, Ellis Hanson, Paul
Hodkinson, Robert Walser, and, especially, Tim Dean. For their patience
and fortitude we thank all of our contributors. No project of this dura-
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