If we apply the lens of psychogeography to Lovecraft’s Providence, we stop viewing the setting as mere backdrop for cosmic indifference and instead see the urban environment as an active … Continue reading →
The Case of Charles Dexter Ward offers the most coherent architecture of hauntological failure in the Lovecraftian canon. Ward is not a mere antiquarian; he is an agent of … Continue reading →
Providence is an series of essays that are nominally about HP Lovecraft. You find out why ‘nominally’ fits as the essays go on. This is the introduction essay. The rest … Continue reading →
The cultural artefact known as Scooby-Doo, Where Are You? represents a sustained and surprisingly rigorous interrogation of the late twentieth century landscape. To the casual observer, the first two … Continue reading →
Why the X-Men Never End — memory, seriality and myth. The mutant past is perpetually reimagined, transforming history into a shifting landscape of retroactive continuity. This instability of memory provides … Continue reading →
Haunting the Present — politics, surveillance and control. The paradoxes of mutant time are embodied in the recurring figure of the future mutant who returns to warn of a catastrophe … Continue reading →
The Haunted Genome — biology and identity. The X-Men represent a particular brand of spectrality, defined less by biological deviation than by the persistent presence of a future that … Continue reading →
Slow time is not the absence of activity. This is usually where people start, and it’s where things immediately go wrong. Slow time is not what happens when nothing is … Continue reading →
In Quatermass and the Pit, Kneale’s ‘Hobbs End’ is London’s wound reopening. Agoraphobia is the private version of that reopening; the moment the body realises its access to the world … Continue reading →
Now, this is the point where I started to suspect something I had not quite said out loud before. Agoraphobia is not just compatible with hauntology. It is one of … Continue reading →
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