The abstract at the site linked to by the DOI seems to be incorrect (because it was discussing Buffy the Vampire Slayer), but I've included the DOI as it's possible to download the chapter from there if you have the correct kind of institutional access. Here's an accurate description of the chapter, taken from page 54:
Contemporary gargoyles continue to lurk in the margins, evading the critical gaze even as their numbers build steadily. This increasing presence is especially noticeable in popular romance novels, where the unique form, functions, and history of the gargoyle are being linked with fraught representations of contemporary masculinity.
This chapter explores how popular romance novels are revisiting and reassembling the historical figure of the gargoyle to create a new and uniquely millennial model of Gothic monstrosity. An ostensibly “good” monster tasked with protecting the innocent, the contemporary gargoyle-hero embodies an ambivalence that is particularly well suited to post-9/11 concerns over homegrown terrorism, surveillance, boundaries, and monstrosity (Bloodsworth-Lugo and Lugo-Lugo 2013). Gargoyles mirror the evil they guard against, reflecting the idea that it takes a monster to know a monster. Yet the landscape of contemporary terrorism blurs the lines between good and evil, monster and human, outsider and insider, resulting in a perpetual tension that the gargoyle-hero both embodies and seems desperate to resolve. Examining a selection of gargoyle-themed romance novels, this chapter focuses on paranormal romances in particular, as this popular genre provides a space in which the romantic and erotic possibilities of gargoyles are being freely explored (Bond 2009). (54)
The abstract at the site linked to by the DOI seems to be incorrect (because it was discussing Buffy the Vampire Slayer), but I've included the DOI as it's possible to download the chapter from there if you have the correct kind of institutional access. Here's an accurate description of the chapter, taken from page 54: