Sinister Spaces: Liminality and the Southern Ontario Gothic in Margaret Atwood's Fiction

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. ii ACKNOWLEDGEMENTS There are many people who have assisted in taking this project from a casual thought to a fully researched thesis. Most importantly, Dr. Medrie Purdham, my advisor through this process, should be acknowledged for the countless hours and emails of feedback and encouragement. I would also like to thank the members of my committee, Dr. Susan Johnston and Dr. Alex MacDonald for providing their expertise. Thanks are also due to Dr. Troni Grande and Dr. Jes Battis who assisted with the development of an initial thesis proposal from which this current project sprouted. I wish to gratefully acknowledge the financial support of the Social Sciences and Humanities Research Council of Canada and the Faculty of Graduate Studies and Research at the University of Regina. Without a doubt, this project could not have been completed without the support and encouragement of my husband, Scott Bartz-Edge; my parents, Bill and Wenda Edge; my sister, Debbie Hiebert; and my niece, Emily Hiebert. For proofing countless drafts, slipping warm meals onto my desk, fielding tearful phone calls and providing much needed distractions, I cannot thank you enough for all you have done. iii

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