A Comparative Study of Gothic Components in the Novel The Story of the Room 207 and Cancer of the Genie

Gothic is a style in art and literature renowned for its exploration of themes such as horror, fear, and dread. This genre has carved out a significant niche in storytelling by incorporating bizarre characters and blending mysterious elements with violence, often depicting scenes of crime and desolate, uninhabited environments. Ahmed Khaled Tawfiq (1962-2018) and Rambad Khanlari (1983) are two contemporary Arabic and Iranian novelists who have contributed notable works within the Gothic tradition. The collection of stories The Story of Room 207 (2008) by Ahmed Khaled Tawfiq shares significant similarities in both content and structure with the collection “Cancer of thhe genie” (2007) by Khanleri. The purpose of this research is to conduct a comparative study of the Gothic elements present in The stories of “the story of the room 207” and cancer of the genie. The methodology employed for this research is descriptive analysis, which was carried out through library notes. The results indicate that the primary common elements of Gothic literature in the collection of stories Story of Room 207 and are, in order of importance: characterization, a mysterious atmosphere, unbelievable events, possession, and violence. 
Introduction:
The term “Gothic” originally referred to the architectural style that flourished during the European Middle Ages, characterized by pointed arches, ribbed vaults, and flying buttresses. The first work to explicitly label itself as Gothic was Horace Walpole's 1764 novel, The Castle of Otranto, which was later subtitled Gothic Story. This novel laid the foundation for the genre. Gothic fiction, sometimes, referred to as Gothic horror, is a captivating literary genre defined by an atmosphere of mystery, terror, and the supernatural. Gothic novels often unfold in eerie, decaying environments, such as castles, monasteries, crypts, and other remnants of the past.
Gothic fiction evokes claustrophobia, emphasizing feelings of fear and dread. Ruined buildings serve as tangible reminders of a once-thriving world now in decay. Common themes include vengeful persecution, imprisonment, murder, and supernatural occurrences. The horrific events depicted in Gothic fiction often symbolize deeper psychological or social conflicts. These stories are frequently convoluted, featuring tales within tales, shifting narrators, and framing devices such as discovered manuscripts. Elements like sleep-like states, death-like experiences, doubles, obscured family ties, nocturnal landscapes, and dreams contribute to the eerie atmosphere. In summary, Gothic fiction remains a captivating blend of fear, mystery, and historical echoes, significantly influencing literature, art, music, and even subcultures.
Ahmad Khaled Tawfiq (born 1962) and Rambod Khanlari (born 1980) are two contemporary novelists from the Arabic and Iranian literary traditions, respectively, who have contributed to the Gothic genre. Ahmad Khaled Tawfiq is often referred to as the father of Arabic horror literature due to his extensive body of work in horror and Gothic fiction. Khanlari is also well-regarded in this field.
His first collection of stories, titled Cancer of the Genie was a finalist for the Jalal Al Ahmed Award and won the Mehrgan Award for the best two-year story collection in 1992-1993. The story collection The Story of Room 207 (2008) by Ahmad Khalid Tawfiq shThe present research aims to compare the techniques employed by Arabic and Persian Gothic writers in evoking fear and terror related to unrealistic and imaginarares significant similarities in content and structure with Cancer of the Genie (2007) by Khanleri. The presence of such similarities, coupled with the lack of comprehensive research examining the Gothic elements in these two works, prompted the authors to conduct a comparative study of the tThe present research aims to compare the techniques employed by Arabic and Persian Gothic writers in evoking fear and terror related to unrealistic and imaginary themes. Given the numerous similarities between the Arabic and Persian languages, which stem from their historical interactions, examining the fictional works in these two languages significantly contributes to understanding and comparing the narrative styles of both cultures. This analysis also provides an opportunity to identify commonalities and differences within their literary traditions.
Method:
The current research method is analytical-descriptive and is based on comparative literature reviews of the American school. The authors of the forthcoming research first gathered information related to the study using library methods, and then organized the common data for the main stage of the comparative review article. Comparative literature is an academic field that explores examines works across linguistic, national, geographic, and disciplinary boundaries. Comparative literature is a vital interdisciplinary field that transcends linguistic and cultural boundaries, allowing scholars to examine literary works within broader global contexts. Its significance lies in uncovering shared themes, influences, and diverse artistic expressions across cultures. For Arabic and Persian literatures, which share deep historical, linguistic, and cultural ties, comparative studies provide critical insights into their symbiotic relationship. Focusing on Gothic fiction- a genre rich in psychological and societal symbolism- allows for a nuanced exploration of how fear, the supernatural, and cultural anxieties manifest differently across various traditions. This analysis not only enhances our understanding of cross-cultural literary dynamics but also underscores the unique contributions of each tradition to the global Gothic discourse.
Results and Discussion:
Gothic literature in Arabic and Persian traditions exhibits distinctive structural, thematic, and stylistic features that reflect a blend of cultural heritage and universal Gothic tropes. Structurally, both traditions favor non-linear narratives, often employing framed storytelling or episodic structures, as exemplified in "One Thousand and One Nights" and the Persian "dastan" tales.
These narratives generate suspense through fragmented revelations, reflecting the Gothic focus on mystery and ambiguity. Thematically, both literatures delve into existential dread, the supernatural, and the interplay between fate and free will, drawing from Islamic mysticism and pre-Islamic folklore. Common motifs include haunted spaces—such as deserts, ruins, or labyrinthine palaces that symbolize psychological or spiritual desolation.
In terms of narrative elements, both traditions feature archetypal characters such as the tormented hero, the spectral femme fatale, and the malevolent demon, embodying cultural anxieties regarding morality and the unknown. The sublime, a key element of Gothic literature, manifests through awe-inspiring yet terrifying natural or cosmic imagery, including stormy skies and vast, desolate landscapes. Stylistically, Arabic and Persian Gothic tales utilize ornate language and poetic devices, enhancing the eerie atmosphere with vivid sensory descriptions and rhythmic prose.
Techniques such as foreshadowing, unreliable narrators, and intertextuality—drawing on religious texts or classical poetry—enhance the complexity of the narrative. These shared characteristics, rooted in a synthesis of cultural specificity and Gothic universality, render Arabic and Persian Gothic literature a rich area for comparative literary analysis, particularly in examining how regional traditions reinterpret global Gothic conventions.
The tormented hero, frequently weighed down by inner conflict or societal expectations, embodies universal struggles with identity and duty—consider Rostam in the Shahnameh or Hamlet in Shakespeare’s tragedy. The spectral femme fatale, a seductive yet perilous figure, represents anxieties surrounding female agency and the unknown, as illustrated by characters such as the enchantress in Persian folklore or the ghostly women in Gothic novels. Similarly, the malevolent jinn or demon, whether in Islamic mythology or Western tales such as Faust, symbolizes the chaos of the supernatural and humanity’s fear of losing control. These archetypes reflect cultural values, with Persian stories emphasizing honor and cosmic balance, while Western narratives often explore themes of individualism and existential dread. Together, they illuminate shared human concerns regarding morality, power, and the mysteries that lie beyond the veil of the known.
Conclusion:
In both story collections, characterization serves as the primary Gothic element. The characters can be broadly categorized into two types. The first group consists of timid individuals who are overwhelmed by feelings of isolation, apprehension, and ambiguity, perpetually haunted by vague anxieties and preoccupations. These characters frequently hold beliefs in vivid, and at times, violent hallucinations, which lead to delusions of being pursued by others, conspired against by organizations, or tormented by demons and supernatural entities. The second group consists of malevolent beings endowed with extraordinary powers, exerting a profound influence over the first group. These sinister figures typically emerge suddenly and mysteriously, instilling tension and insecurity through their violent and terrifying actions. They possess grotesque features—such as unnatural organs or horrifying visages—that starkly deviate from human norms. Both authors skillfully create an atmosphere of ambiguity and mystery by weaving eerie sounds and vivid descriptions of shadowy settings, including enigmatic dungeons, cellars, secret corridors, basements, and foreboding cemeteries. Through these elements, the authors imbue their narratives with a dual, ambiguous quality that challenges readers' perceptions of reality. This approach not only heightens suspense and evokes awe but also provides literary pleasure by captivating the audience's imagination.