“(Washington) Irving was only the first of the writers of the American ghostly tale to recognize that the supernatural, exactly because its epistemological status is so difficult to determine, challenged the writer to invent a commensurately sophisticated narrative technique.”

“(W.D.) Howells asserted that the Americans' 'love of the supernatural is their common inheritance from no particular ancestry.' Their fiction, he added, often gathers in the gray 'twilight of the reason,' on 'the borderland between experience and illusion." Howells's geographical metaphor was derived, of course, from Hawthorne's idea of a moonlit 'neutral territory, somewhere between the real world and fairy-land, where the Actual and the Imaginary may meet, and each imbue itself with the nature of the other.' Whether literally, as in Cooper's The Spy, or metaphorically, as in Hawthorne's works, the neutral territory/borderland was the familiar setting of the American romance. As American writers came to realize, not only was there a borderland between East and West, civilization and wilderness, but also between the here and the hereafter, between conscious and unconscious, 'experience and illusion' - psychic frontiers on the edge of territories both enticing and terrifying.”

“(Washington) Irving was only the first of the writers of the American ghostly tale to recognize that the supernatural, exactly because its epistemological status is so difficult to determine, challenged the writer to invent a commensurately sophisticated narrative technique.”

“In any event, whether a supernatural tale remains altogether fantastic or eventually modulates to the uncanny or the marvelous, the reader is faced with disconcerting ontological and perceptual problems.Indeed, the disorienting effect of the supernatural encounter in fiction seems to reflect some deeper disorientations in the culture at large.”

“But the recurrent ambiguity of the American tale of the supernatural reveals both a fascination with the possibility of numinous experience and a perplexity about whether there was, in fact, anything numinous to be experienced. Writers often delighted in leading readers into, but not out of, the haunted dusk of the borderland.”

“Supernatural fiction contains its own generic borderland: a neutral territory, which Tzvetan Todorov calls 'the fantastic,' between 'the marvelous' and 'the uncanny.' According to Todorov, 'The fantastic is that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event.' Once the event is satisfactorily explained (and sometimes it is never explained), we have left the fantastic for an adjacent genre - either 'the uncanny,' where the apparently supernatural is revealed as illusory, or 'the marvelous,' where the laws of ordinary reality must be revised to incorporate the supernatural. As long as uncertainty reigns, however, we are in the ambiguous realm of the fantastic.”