This paper explores how Emily Dickinson`s poems, tracing the maternal imprints in the speaker`s psyche, present to the reader the uncanny of the pre-oedipal mother as the crucial impetus for poetic sublimation. Throughout her poetry, Dickinson describes how the absent mother hovers over the speaker`s psyche, bringing about the gothic fear and power of the maternal body. Dickinson`s poems represent to us the familiar figure of the mother becoming the uncanny figure of the maternal in the house. For Dickinson, the house, as Freud argues in "The Uncanny," symbolizes the body of the mother. In her most psychologically complex poems, Dickinson`s way of describing the space of the house evokes the uncanny maternal figure for the reader. Dickinson relies on the gothic tradition to depict the speaker`s ambivalence towards the maternal body; the maternal absence and presence is dramatized through the spatial imagery of the house. Furthermore, for Dickinson, the house implies the blurry boundary between the pre-oedipal and the symbolic. The house often carries the psychic turmoil and pain that the daughter-speaker undergoes. Posing herself as the gothic heroine in the house, the speaker, in Dickinson`s poems, continuously encounters the female body / femininity which she shares with her own pre-oedipal mother. Portraying the daughter-speaker`s ambivalent struggle with an absent maternal figure, Dickinson`s poetry embodies the pre-oedipal maternal imprints in the speaker`s unconscious through the complexity of poetic voice.