Employing the concept of the Anthropocene as a generative launching pad and somewhat amorphous organizational conceit, the editors of Dark Scenes from Damaged Earth: The Gothic Anthropocene present sixteen often insightful, always intriguing essays that further the still nascent critical amalgamation of gothic studies and the environmental humanities. In their introduction, the editors write, “To live in the Anthropocene is to recognize that transgression, excess, and monstrosity are no longer anomalies in human life but inextricable parts of it” (xi). They go on to argue that “Gothic has the power to unsettle readers more than most other literary or cultural forms because it dwells on widespread anxieties, dread, the horrific, the repellent, and achieves a frisson that other mimetic modes of representation can barely render” (xi–xii). The critical combination of these sentiments will prove familiar to those who have followed the now decade-long rise of what many scholars have come to call the ecogothic. However, the editors do their best to avoid this term, invoking it only once, writing, “To date, the important research on gothic and ecology has been largely limited to thematic studies of ‘eco-gothic’” (xiv). They then contend that such ecogothic studies “are significant for reflecting on gothic and environmentalism, but overall, they do not consistently engage with the important work in the humanities and social sciences that has recently been done on the Anthropocene. The present study attempts to fill that gap and, we hope, inspire further research in the field” (xiv). Overall, the essays that constitute this book, written by a well-established set of environmental literary scholars and cultural critics, offer productive contributions to the in-progress ecogothic conversation.