In this chapter, I consider the process of erasure as emergent poetic methodology: a tool for resisting anthropocentrism by disfiguring the medium to simulate a wilderness experience, producing in the reader a sense of radical self-negation and awareness of pluralities of agency both human and nonhuman. To achieve such a wilderness experience, Yedda Morrison’s Darkness performs what the author calls a “biocentric” erasure on Joseph Conrad’s Heart of Darkness. By reworking Heart of Darkness from an ecological perspective, Morrison updates Conrad’s canonical critique of British imperialism with an eye toward contemporary debates on carbon- and climate-imperialism. Methodologically, according to Morrison, a biocentric reading involves whiting-out all references to humans in Conrad’s text, while maintaining the original print orientation for the text that remains, leaving sparse arrangements of words (“river- / light”) and even the occasional blank page. The wilderness philosopher Max Oelschlaeger writes, “Biocentrists take life rather than the human species as the central verity and thus assign value to all other things relative to life” (1991, p. 293). Yet I suggest that Morrison’s view of biocentrism disrupts even the idea of a center. I read Darkness in relation to two different traditions: erasure poetics and Deep Ecology, an anthrodecentric environmental movement founded on the principle of the equal value of all life. I find a striking methodological incongruity between Darkness and the genre of erasure poetry, with which it is commonly associated. This chapter follows Morrison’s lead in proposing an erasure poetics (a theory of poetry rather than a genre of poetry) inflected by Deep Ecology, a poetics which I intend to call “deep erasure.” Deep erasure in the manner of Darkness recuperates a rarely discussed principle of Deep Ecology—biospherical egalitarianism—to advance an emergent poetics that refuses to participate in the hierarchy privileging human narratives over nonhuman ones. Rather, Morrison’s Darkness affords us the opportunity to explore a nonhuman ethic in the practice of erasure in other poetic media, given that her project is explicitly directed toward “turning a story into a picture” (2014a).