Australian author Michelle de Kretser addresses in her literary work ideas of home and belonging. In Springtime. A Ghost Story (2014) the author gives voice to an ambiguous and variable subject who coexists with her past, present and future, inhabiting a fluid trans-space where love has a principal role. Frances, the main character in Springtime, sees ghosts who unconsciously allow her to voice her insecurities and doubts concerning her life existence. These phantoms contribute to the formation of Frances’ alternative conceptualization of subjectivity. At the same time, de Kretser offers in this dystopic novella a much-needed escape from binary definitions of inclusion/exclusion, offering palimpsests of the spaces that Frances inhabits—Melbourne, Sydney and Paris. This main character is a fluid flâneuse who tries to adjust to her glocality constituted and reconstituted by a discursive imaginary. In this article, I analyze how de Kretser subverts ghost story patterns, destabilizes binary thinking, and decentralizes the human subject offering the reader an alternative haunting love story with an open ending, where cities, ghosts, humans, dogs and nature become active characters who are-in-this-together-but-who-are-not-one-and-the-same.
De Kretser’s Retelling of a Ghost Love Story
