Sinister Spaces: Liminality and the Southern Ontario Gothic in Margaret Atwood's Fiction
type: CreativeWork
description: Margaret Atwood’s works are undoubtedly influenced by her academic training in Gothic and Victorian fiction. However, she also incorporates the influences of Southern Ontario – her backyard – and its regional subgenre of Southern Ontario Gothic. While traditional Gothic certainly incorporates binaries, Michael Hurley, the scholar at the forefront of the discussion of this unique subgenre, suggests that characters within this subgenre are entrapped in the liminal spaces created not simply by the meeting of seeming opposites, but at the points where their boundaries are blurred. Atwood’s fiction represents these liminal spaces; however, she provides options for a hopeful ending by providing her characters a means to escape their entrapment. Her characters must attempt to navigate the artificial representations of wilderness by society, examine the fluid boundary between life and death as morts-vivants, and attempt to resolve the separation of their identities into self and other by confessing the ghosts of their pasts. These spaces may appear to be terrifying and confusing due to these seeming opposites, but by accepting both sides, rather than trying to extricate one from the other, Atwood’s characters have the opportunity to learn about themselves and at once, calm the fear of the region.
abstract: Margaret Atwood’s works are undoubtedly influenced by her academic training in Gothic and Victorian fiction. However, she also incorporates the influences of Southern Ontario – her backyard – and its regional subgenre of Southern Ontario Gothic. While traditional Gothic certainly incorporates binaries, Michael Hurley, the scholar at the forefront of the discussion of this unique subgenre, suggests that characters within this subgenre are entrapped in the liminal spaces created not simply by the meeting of seeming opposites, but at the points where their boundaries are blurred. Atwood’s fiction represents these liminal spaces; however, she provides options for a hopeful ending by providing her characters a means to escape their entrapment. Her characters must attempt to navigate the artificial representations of wilderness by society, examine the fluid boundary between life and death as morts-vivants, and attempt to resolve the separation of their identities into self and other by confessing the ghosts of their pasts. These spaces may appear to be terrifying and confusing due to these seeming opposites, but by accepting both sides, rather than trying to extricate one from the other, Atwood’s characters have the opportunity to learn about themselves and at once, calm the fear of the region.
author: Bartz-Edge, Cara Diane
language: en
date published: 2012-03
date modified: 2026-07-24T04:03:30Z
provider: University of Regina
publisher: Networked Digital Library of Theses and Dissertations
type: WebPage
source organization: Faculty of Graduate Studies and Research, University of Regina

PropertyValue
property ID: Handle
value: https://hdl.handle.net/10294/3534

PropertyValue
property ID: DOI
value: 10.82465/3983