A surge of spatial imagery is sweeping across wide stretches of the academy. Spheres of scholarly endeavour hitherto seemingly immune to matters of space and place have been exploiting the geographical lexicon and appending to it ever more imaginative adjectives. Thus literary critics, cultural historians, psychologists, poets and many others have been uncovering geographies that are variously depicted as ‘tender’, ‘neural’, ‘fabulous’, ‘romantic’ and ‘distracted’. Geographers too have added to this adjectival efflorescence with their staging of ‘hybrid’, ‘malevolent’, ‘phobic’ and ‘sensuous’ geographies – to name but a very few. The analytic power of geographical readings has thus been felt across a broad terrain. Thomas Kaufmann, for instance, has recently developed a ‘historical geography of art’ – or what he calls a ‘geohistory of art’ – in which he mobilizes geographical motifs to explore artistic identity, diffusion, circulation and transculturation. Steven Harris, Peter Burke and many others now routinely speak of the ‘geography of knowledge’. And in her recent account of nineteenth-century American expansionism along the western frontier, Amy DeRogatis has found inspiration in the idea of ‘moral geography’ to throw light on the means by which New England ways of life were transferred to the Western Reserve.