In this book, Harpham develops his own theory of the grotesque by exploring its history and previous critical works. Since the grotesque is present in many different forms of art it is impossible to present a wholly functional definition. Harpham traces the origins of the grotesque back to our mythic past, as autochthonous mans deal with a reality steeped with myth, in which Nature and Chaos, Will and Logic, Eros and Thanathos, coexist. Harpham applies anthropology, psyhology, religion and literature in his analysis of the essence of the grotesque. The primary references of his own definition are to Leach, Auerbach and Freud. Harpham avoids both the negativity of Kayser and the positivity of Bakhtin that others have related themselves to. Harphams presentation is thorough and interesting and is a logical extention of the traditional views on the grotesque as a dual element of horror/humor. He presents a fresh angle on a difficult subject that has had few serious contributions since Kayser and Bakhtin. This book is an excellent starting point for any study of the theory of the grotesque and should be considered a valuable work in its own right. Harphams own analysis is thoroghly presented and he explores different applications of his theory through the analysis of four literary works: Wuthering Heights, The Masque of the Red Death, Death in Venice and, finally an analysis of Joseph Conrad's works. This also makes it an good tool in further use of the grotesque in other studies.