Elizabeth Bowen is a writer responsive to what she has called in The Heat of the Day a "particular psychic London" (HD 92). While this novel addresses the condition of the city and life in London during wartime, the psychic and phantasmagoric aspects of the city are Bowen's constant concerns, even as the spectral nature of urban materiality in its relation to the uncanny and anamnesis come to inform her act of writing the city text. Although Bowen ostensibly writes of a recognizably "real" and apparently somewhat representable world, the force of the city is perceived through fragmentary details, ruins, and remainders belonging to what might best be described as the 'schemata of dream-work", to use a phrase of Walter Benjamin's (AP 212). Or as Maud Ellmann has it, "the furniture of realism is shattered by the violence of Bowen's style".¹ This shattering effect is irreversible. Once having taken place, and having imposed its violence on the reader, the ruination of representation cannot be reconfigured. The city, its buildings, its people, its domestic interiors and external public spaces: all undergo a critical transformation that admits of a multiplicity of haunting traces on and as the urban scene.