![]() Over time, as a consequence of official ascription, it has been accepted by the indigenous community itself, even though the Dusun themselves initially preferred to call themselves Sang Jati (our people). It has been attributed to British colonialists to refer to a place where people practised horticulture and to the Brunei Malays to describe orchard or countryside. The etymology of the term ‘Dusun’is disputed. This article also makes a case for the diversification of local literary and cultural production to effectively reorient public narratives of the environment. To this end, I examine the ways in which nature and the supernatural are portrayed and how nonhuman agencies disrupt anthropocentric narration and reading. EcoGothicnarratives can thus be seen as crucial representational models of anti-extractivism that reimagine human-nonhuman relations beyond anthropocentric epistemologies. ![]() Using a localized EcoGothiccritical framework, I argue that the novelreflectsIndigenous ecological beliefs and practices, wherein nature and the supernatural destabilize and undermine anthropocentric ways of knowing and relating to the nonhuman. This article posits gothic depictions of the haunted forest as important counter-narratives to extractivist representations of nature in public narratives in Brunei, including government policy and advertising for environmental tourism.The critical discussion will focus on a contemporary Bruneian text, Aammton Alias’sThe Last Bastion of Ingei(2016). ![]()
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