‘The blank darkness outside’
Ambrose Bierce and wilderness Gothic at the end of the frontier
in Ecogothic
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter examines the development of wilderness Gothic through the nineteenth century, looking at responses to the environment in the literary and political imagination. It focuses on Ambrose Bierce, whose Gothic horror tales offer an insight into the American imagination and the environment. In order to preserve a civilized world of legal process and rationality William Harker's tale must be excluded from the debate, shut out into the wilderness foreshadowed in the opening paragraphs as a 'blank darkness' of 'unfamiliar noises'. If the story of the expanding frontier articulates a simple dichotomy of civilization against the wilderness, then the end of the frontier marks a more subtle Gothicism, marked by the haunting presence of the past. The Native American and the wilderness have a tendency to be conflated in early American Gothic, and characters have a tendency to be corrupted by contact with either or both, becoming literally 'bewildered'.

Metrics

All Time Past Year Past 30 Days
Abstract Views 178 76 1
Full Text Views 46 18 0
PDF Downloads 14 6 1