Reading Ecogothic depictions of nature from cultural traditions outside of Euro-America reveals how socio-ecological relations are inextricably bound up with hierarchies of race, class and gender, but also how environmental catastrophes intersect with wider geopolitical contexts such as imperialism. This chapter compares contemporary examples of ‘resource Gothic’ fictions that figure the socio-ecological violence of extractivism, plantation and ecological imperialism in postcolonial nations, including the sugar Gothic of Roger McTair’s ‘Just a Lark (or the Crypt of Matthew Ashdown)’ (2000), set in Jamaica, the oil Gothic of HelonHabila’sOil on Water (2010), set in Nigeria, and the toxic nuclear Gothic of Robert Barclay’s Meļaļ (2003), set in the Marshall Islands. It also examines Ecogothic aesthetics in contemporary television and video games, exploring the oil and sugar imaginary of the first season of HBO television series True Detective (2014) and the nuclear magnetism of Bethesda Game Studio’s Fallout 4:Far Harbor DLC (2016).
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