ABSTRACT
What surfaces in terrible places such as The Holmes Castle is a rapport between persons and places such that the techniques of the habitat and forms of personation become indistinguishable—a failure of distinction that precipitates effects of horror. But what mode of persons and what modes of place figure in such cases? How do these strange regressions of persons and strange replications of outmoded places come together in the form of techno-primitive violence that makes up the modern American Gothic?
