By Simon Hay (auth.)
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Additional resources for A History of the Modern British Ghost Story
He also, that is, functions as something like a ghost, the remnant of the past persisting into the present, his way of life superseded by commercial society, a ﬁgure who now makes his living through commodifying his own links to that past. The focus of the memorandum, written forty years after the tour took place, is Mrs Baliol’s record of the story she was told on that tour by Elspat MacTavish, describing Elspat’s son’s encounter with the ghost of his father. If that sounds confusing, it should.
26). Modernity, for these writers, is something different in either form or intensity from what it was for Scott, though their stories continue rather than reverse or challenge the ghost story’s concern with the category. Modernity is characterized by ghostliness, a ghostliness that consists not of the past’s persistence into the present but rather of the insubstantiality of the modern itself: of the market, the city, technology, the bourgeois home, and relationships premised on these institutions.
If a version of imperialism understands itself as bringing the light of civilization, then there is always another version that understands 26 A History of the Modern British Ghost Story that imperial violence makes empire a thing of horror; Conrad’s Heart of Darkness is the most famous narrative showing the dependence of each on the other, but it is the project of imperial ghost stories, too, to strap the two together. In these explicitly imperialist ghost stories, the colony and its people are horrors; but so too is empire.