The disappearance of characters in mid- and late-nineteenth-century invisibility narratives takes a Gothic turn, as their invisibilisation comes to be identified with the dehumanisation of the in/visible subject. Appearing towards the end of the cultural dominance of the idea of bourgeois character, these invisibility narratives take up the idea of the uncanny colour white, epitomised by Melville’s Moby-Dick (1851), and embody it in monstrous shapes to reflect on the ethnic Whiteness of the subject. Two different strands can be distinguished: the first, discussed in the example of Fitz-James O’Brien’s “What Was It?” (1859) reframes invisible characters as antagonists in terms of nonhuman monstrosity; the second, exemplified by H. G. Wells’s The Invisible Man (1897), redefines its invisible protagonist as morally monstrous to the point of inhumanity. Both texts respond to the racialisation of the subject in nineteenth-century subject culture, engaging with the spectacular hypervisibility of socially invisibilised extraordinary bodies in the freak show. These narratives of invisibility, then, effect an end to ideas of “character” in force since the eighteenth century, refiguring Romantic ideas of the loss of character and prefiguring the modernist transformation of character into personality. Nineteenth-century transatlantic Gothic uses invisible monsters to reflect on the uncanniness of ethnic Whiteness within nineteenth-century subject culture, interrogating the humanity of its representatives.