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This paper argues that while reading Frankenstein and Dracula, the best Gothic novels, the reader’s mind is drawn to the boundary of the self and feels the difference between the inside world of the self and the outside that is beyond the unity of signs in the text. Using the ethical theories of Emmanuel Levinas and Gilles Deluze/Felix Guatarri, I claim and discuss that the pure desire of the human subject for the other―the exteriority of the subjectivity―is the source of the Gothic surplus sensibility that the reader comes to have. The argument is also extended to a short analysis of the film versions―Mary Shelly’s Frankenstein(1994) and Bram Stoker’s Dracula(1992)―both of which are, among others, most faithful to the original.