Edgar Allan Poes narratives envision a larger body of interdisciplinary elements within the literary purview of the Gothic; so far in creating a distinct mode of style that is new and fundamentally universal in approach, the writer can be seen as perfecting it through his hyperbolism of human fears and follies. The title Revisiting the Gothic comprise of not only a quintessential positioning of Gothic and its creativity in the field of literature, but it is a re-analyzing as of how Poes works fits into a much larger system of a genre that transcends the radicalism and didacticism into which it was earlier categorized. Poes narratives have transcended the confined dungeons, castles and ancestral houses with their curses, ghosts and sadistic secrets and have come out into a threshold of what may be termed as the Gothic Realism rather than the Gothic horror. In a way, it has become a representation of our deepest fears and insecurities which is a part and parcel of our personality and being. Poes works subverts the conventional mode of gothic storytelling including other aspect such a
s setting, source of terror, emotional transparency of the characters etc. and expands his vision to a much more complex and intimidating position of human experience in general. Gothic in his observation becomes a flawless and active association of ideas and concepts that delves deep into the human mind and its relation to the external environment. This research took up this stance to provide an argument regarding the malleability of the Gothic in the hands of Edgar Allan Poe, and after analyzing broadly the different elements or features that undertook the genre into a new form one can provide a fruitful conclusion regarding the authenticity of the writers works in re-defining the genre as a whole. After carefully considering the chapters and their systematic analysis of the newness that exist within Poes select texts, it is quite clear that his works has some sort of a postmodern touch, which goes beyond the early traditional hallmark of Gothic literature as a pleasure-evoking form of literary narrative. It has been more concretized within the very margins of its limited domain.