This book demonstrates that incest was representative of a range of interests crucial to writers of the Gothic, often women or homosexual men who adopted a critical stance in relation to the heteronormative patriarchal world. In repositioning the Gothic, representations of incest are revealed as synonymous with the Gothic as a whole. The book argues that extending the traditional endpoint of the Gothic makes it possible to understand the full range of familial, legal, marital, sexual and class implications associated with the genre's deployment of incest. Gothic authors deploy the generic convention of incest to reveal as inadequate heteronormative ideologies of sexuality and desire in the patriarchal social structure that render its laws and requirements arbitrary. The book examines the various familial ties and incestuous relationships in the Gothic to show how they depict and disrupt contemporary definitions of gender, family and desire. Many of the methodologies adopted in Gothic scholarship and analyses of incest reveal ongoing continuities between their assumptions and those of the very ideologies Gothic authors strove to disrupt through their use of the incest trope. Methodologies such as Freudian psychoanalysis, as Botting argues, can be positioned as a product of Gothic monster-making, showing the effect of Gothic conventions on psychoanalytic theories that are still in wide use today.