Dines’ article is about the Gothic narrative and how it is changing. It is being suburbanized and is incorporating more sophisticated emotions to what used to be just about monsters. He also mentions how there are many different interpretations of Suburban gothic and compares them to his own beliefs.
 
His claim is that suburban gothic is less about the American culture but more about the middle-class, which is found in many cultures. He then says that the uncanniness that pervades middle-class domestic space in Gothic literature from the 19th century onwards can be characterized as ‘the quintessential bourgeois fear’, the ‘fundamental insecurity [...] of a newly established class, not quite at home in its own home. What was once a broad genre is now centralized (Backing). Suburban Gothic is centered on playing-out concerns that deal with status and power, as well as tensions from various conflicts, both psychological and social (Grounds). American Gothic could be seen as an articulation of the unease of a still unsettled upward mobile diaspora (Qualifier). Punter believes that the gothic genre speaks to bourgeois concerts, while Dines believes that the familiarity and legibility of recent suburban Gothic is mostly a consequence of the twentieth century's tradition of suburban critique (Rebuttal).

Hi Eric!

When reading your claim, I find Dines's claim very interesting. Most of the time when we think of gothic we think of the gothic tropes or conventions. It's interesting to see that there is more the gothic trope than just that.