Popular Culture Review 29.1 (Spring 2018) - Page 104

and seats himself in the darkened hallway just off the entryway as the woman, her back to him, finishes up an art project. She turns to greet her husband and finds herself facing a strange man wearing black-framed glasses. When she gasps, “Who are you?” the intruder brings out a large knife and slowly stands. The rest is left to the imagination of the viewer, who later learns that this monster has cannibalized his victim. Gothic Horror and the Demonic Setting is a vital element in Gothic horror, but the ingredient that most effectively evokes a sense of dread is the presence of the demonic.  According to E. J. Clery, the author who includes the supernatural in his or her narrative intends “to leave the reader in the most horrible reality” (157) and to awaken, in turn, “an indiscriminate paranoia” (164) that has been inspired by actual events beyond the script and that has kept the Western world on edge.   In Luther, Cross uses allusion to imply the presence of the demonic.  For instance, in the novel, the killer Henry Madsen identifies himself during a London talk-radio show as “Pete Black,” a common-enough sounding name, but one that represents a violent, even demonic identity that has replaced the real one that was erased early in Madsen’s life, likely by severe parental abuse.   In a station scene midway through the novel, Luther’s partn