Goth's Dark Empire

Acknowledgments

Contents A A A A Ac c c c ck k k k kn n n n no o o o ow w w w wl l l l ledgme edgme edgme edgme edgmen n n n nt t t t ts s s s s My gratitude goes out first to all the Goths who invited me into their world and guided me through its magnificent darkness. Without your help, encouragement , trust, and corrections of my misperceptions, this book would never have been. And special thanks to the anonymous Goth at the book signing for New Millennial Sexstyles who exhorted me to undertake this project. I hope I have honestly represented the concerns that all of you expressed and have faithfully transmitted your ideas about your subculture. Thanks are also due to the many students who have taken my classes in Contemporary Youth Cultures and Film Studies, and my special seminar on the history of the Gothic over the past four years. Please forgive me for not listing you all here, and know that I appreciated all your ideas and suggestions about Goth and Deleuze. As always I thank my San Francisco friends and family, and in particular Jamie O’Toole, Chris Toomey, and Mary Stewart for their enthusiastic accompaniment on three Goth-hunting expeditions in The City. And Scott Candey for opening the dark doors to me on the first of these journeys of discovery. For reading parts of this manuscript and offering helpful suggestions, I thank Joe Austin, Ellen E. Berry, Michael Bibby, Shelli Fowler, Laura Frost, Lauren Goodlad, Virginia Hyde, Ann Kibbey, Michael Kramp, Katherine Olson, Tim Shary, Juanita Smart, Noel Sturgeon, and Patricia White. And for especially useful general discussion of the project with me, I am grateful to November Rose Anderson, Paul Brians, Joan Burbick, Doug Cunningham, Dee Anne Finken, Joanna Frueh, Denise Garrett, Will Hamlin, John Hegglund , Paula Kamen, Kristin Kohl, Karmen MacKendrick, Eric Petracca, T. V. Reed, Elizabeth Sargent, Robert Schimelfenig, Noel Sturgeon, and Garry Watson. For his wonderful work as a teaching assistant and for being the absolute best research assistant anyone could ever have, I will always be grateful to Don Anderson. I also thank him for providing the discography. x Acknowledgments My thanks to Robert Sloan, my editor at Indiana University Press, for once again making the publication process a joy for me, and to Shoshanna Green for her invaluable help in preparing the manuscript. I am grateful to Washington State University Vancouver for providing me with a semester’s sabbatical in fall 2003 to allow me time to write the penultimate draft of the book, and to Washington State University’s English Department for its award of the Buchanan Distinguished Professorship, which provided financial support for a large portion of the travel and research materials for this project, as well as the research assistantship. Part of chapter 1, “Perils for the Pure,” was selected for inclusion in Joe Austin’s collection of papers presented at “Youth, Popular Culture, and Everyday Life,” a conference at Bowling Green State University, February 8–10, 2002, and I thank him for permission to reprint it here. I thank Duke University Press for permission to publish here, as part of chapter 3, “That Obscure Object of Desire Revisited,” material that also appears in the collection Undead Subcultures. My essay “Curing Boys Don’t Cry: Brandon Teena’s Stories,” published in Genders 37 (2003), appears in revised form as part of chapter 4. For her permission to reprint that material, I thank the journal’s editor, Ann Kibbey. Boys Don’t Cry xi Goth’s Dark Empire Goth’s Dark Empire Goth’s Dark Empire Goth’s Dark Empire Goth’s Dark Empire ...