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When explorers Lewis and Clark crossed the American border with the unknown in 1804, they were far from understanding what was before them. According to previous records, travel diaries, chronicles, etc., the territory beyond the limits of the young Republic was populated by natives, and by a rosary of brave pioneers. What writer Chris Dingess and artist Matthew Roberts conceived in 2001 was totally opposed to this idea. Their comic series Manifest Destiny, whose sixth volume was released on October 3rd, 2018, shows a reality riddle with monsters belonging to very different categories: zombie- like, vampire-like, hybrid (grotesque) forms, monstrous and anthropophagous animals, magical native sorcerers, etc.

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The purpose of this article is to show how the academic studies on Poe have been developed during the first fifteen years of the twenty-first century in Spain. To achieve this goal, the critical editions of Poe's works published from 2000 on, along with the works of literary criticism composed around Poe's life and works, will be analyzed. The year 2009, with the celebration of Poe's two-hundredth anniversary, was a turning point where many works were produced and many scholars focused on the works of Poe. Many books, articles, and new editions were produced in every research field; but they were not the only ones who made this effort of paying attention to Poe: Spanish students also got involved in some of the activities that took place during this year. Short stories, poems, Poe's life and travels, his influence in later authors on both sides of the Atlantic, and many other aspects were explored. This article will try to offer an overview of all these new publications and how they were received by the Spanish audience, being acquainted the idea that Poe was (and he is still) unknown for most Spaniards, who only have heard of him as an author of horror stories.

It is needless to say that Gothic has been (and still is) one of the most successful and fruitful literary movements ever developed in the Western Hemisphere. Lesser know is that it had its dramatic counterpart, a much less profitable subgenre, although cultivated by the leading authors that had enthroned gothic novels. The main objective of this article is to show how William Dunlap, the so-called father of American drama adapted the European conventions for the Gothic and rewrote them in the newly born United States. Through his tragedy Leicester (1807), it will be seen how Dunlap was both an inheritor of dramatic previous traditions (like Shakespeare's tragedies) and of Gothic (both novel and drama), as his relation with Charles Brockden Brown stated. This play (among others Dunlap wrote) proves how the genre "migrated" from European soil to America, as it had previously happened with narrations, generating a new tradition which lasts until the present day.