The range of texts she studies, as well as the variety of topics covered in the seven comprehensive chapters, result in a thoroughly researched and deeply thought-out text that covers all available bases when discussing the gothic form in relation to Canada's unique cultural and transnational positions, as well as Canadian history and the identities borne out of it. While less well-read readers may struggle in parts with Sugars's digressions in the form of close textual readings and her sporadic use of extracts and quotations when discussing her chosen works in greater detail, this momentary confusion does not detract from Sugars's arguments. ...her writing style allows the reader to slip past the works with which he or she may be less familiar and instead focus on the concepts that she presents, with her transference of traditional gothic language to the Canadian literary tradition allowing them to be applied to a multitude of Canadian works as the reader chooses. Ultimately, Sugars's Canadian Gothic is very much a product of love's labour, and this transfers with great effect to her language and writing style - it's hard for the reader not to become engrossed in the prose, even when encountering unheard of works, and Sugars's new ideas and excavation of a traditional genre, from within an unexamined national literature.