Kemp, J. (2001) a glossary of Literary Gothic Terms. Web

Isabel Cañas, The Hacienda
(Berkley)
Isabel Canas takes the gothic novel to the haciendas, just as Sylvia Moreno-Garcia’s Mexican Gothic took on the history of silver mining and imperialism. In The Hacienda, set just after the Mexican War for Independence, heroine Beatriz has been dispossessed of her family fortune after her father’s fall from political grace and subsequent execution. She finds a husband she feels will elevate her status and protect her mother from persecution, but strange happenings at her new estate and rumors of hauntings threaten to derail her new life, and a sexy local priest who moonlights as a witch is her only hope of survival. Lush, beautiful, and completely deserving of the comparisons to Rebecca, The Hacienda is essential reading in the gothic revival.
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T. Kingfisher, What Moves The Dead
(Tor) 
Set in that 19th century placeholder for obscure nations, Ruritania, T. Kingfisher’s What Moves The Dead slyly reinvents The Fall of the House of Usher as a fungalpunk reckoning. An old soldier heads to a dilapidated castle to attend to their dying friend, but strange occurrences in the decaying manor distract from the mission of comfort and raise specters from past battles. Perfect for those who enjoyed Silvia Moreno-Garcia’s Mexican Gothic and thought, “I’d like to read some more horror involving mushrooms.”

Elizabeth Brooks, The House in the Orchard
(Tin House)
The House in the Orchard is a richly-layered gothic novel with all the psychological penetrations that form is so celebrated for. We follow a WWII widow to a country estate in disrepair, and then a book is found—a young girl’s diary—and soon we’re thrown into another story, of an orphaned child trying to interpret her own trauma and the events of the adult world around her. The result is an exercise in disquiet, just as a good gothic novel should be, and a haunting tale of loss and discovery. –Dwyer Murphy, CrimeReads Editor-in-Chief