Article
Attention
Culture
Weirdness
Wildness
6 min read

Take a walk: the world is weirder than you think it is

Psychogeography and the dark alleyways of the mind.

Mockingbird connects the Christian faith with the realities of everyday life.

A backlit person at twilight holds a hand out towards the camera, holding some fairly lights
Riccardo Annandale on Unsplash.

This article, by Blake Collier, first appeared in Mockingbird. Published by kind permission. 

 

Entre chien et loup. 

The phrase literally means “between dog and wolf” and has most immanently been used to describe the twilight hour where day and night intermingle before night fully takes hold. 

Jean Pruvost, a linguist who has studied the expression, gave some background on ‘entre chien et loup.’ He says it comes from a Latin phrase, intra hora vespertina inter canem et lupum, that dates back to at least the seventh century. And it refers to the time when the daylight dims and you could mistake a dog for a wolf. 

One could imagine before the advent of electricity and modern public lighting how ambiguous this time of day could be as the landscapes around your small village were being consumed by the darkness — the human eye not fully able to calibrate fully for day or for night, hence the inability to distinguish between a friendly pet and a looming threat. 

This is what is popularly known as liminal space in our current epoch. This liminality is always present, however, not just at dusk. As we move through the worlds we inhabit, whether natural or built, we are constantly finding ourselves within transition or transformation. Psychogeography is a broader term that is often used to investigate the liminal movement of bodies through space. In its most simplistic form, it is how our mind interacts with and processes the physical landscapes that we inhabit and how those landscapes affect our mind. The actual history of the term is much more complicated — honestly, convoluted — however at its core it is scratching at the nebulosity of things like entre chien et loup

At the outskirts of a city or town, one begins to see the fraying of the edges, those areas where we have yet to fully enact our illusory control over the land.

About seven or eight years ago at the height of my running prowess, I got up one Friday morning very early and started a ten-mile run I had planned around nearly the full border of my hometown of Canyon, Texas. I did not know if I would make it the whole way, but the intent was there and the map was set. However, something interesting happened as I began plodding down my route. Those lines that show up on our maps often engender varying qualities of trails. Most of the time I was hitting asphalt and sidewalks, but when you are following a broad circle around a town, it’s not uncommon to find ambiguous stretches between incorporated and unincorporated parts of the town. Somewhere within the first mile or two, one of the “roads” I had included on my path ended up being nothing more than a worn trail through prairieland behind a group of houses. 

I bring this story up because, though I did not know it then, I was enacting a psychogeographic practice. Iain Sinclair, who is probably one of the most well-known proponents of modern psychogeography, walked the M25 around London in seven different treks over a time period. The M25 is a 125-mile loop around London and is considered one of the busiest highways in the world. As he ambled along the highway — sometimes on asphalt, sometime “around” the trace of the highway — he would take note of what he saw, and he eventually wrote the book London Orbital. This practice allowed him to see London in a new way because at the outskirts of a city or town, one begins to see the fraying of the edges, those areas where we have yet to fully enact our illusory control over the land. They have neither been captured by urban sprawl nor have they been renovated and gentrified. These lacunae are ambiguous regions between the built and unbuilt (or decayed). Once again, we are placing ourselves intentionally into places where we attend to the ley lines which connect the physical markers to the perceived or imagined topographies of the places where we exist. 

To put it bluntly, being intentionally attentive to surroundings can trigger investigations into the seen and unseen powers that hole up in our built environments and the natural world that pushes back against it. 

The path through the prairieland I spoke of earlier ended at a concrete curb and a recently repaved residential street that ran right next to a Catholic church, almost like the church was posting itself on the fringes of the town to warn of impending threat, or perhaps giving a welcome sight to a weary traveler. I suppose it depends on how you look at it. 

Yet it is exactly this work of attending to where we live and reacquainting ourselves with it that is, I believe, at the heart of this purposeful ambulation through space. Our lives fall into banality most of the time. We take everything for granted and we see our lived environment through that myopic lens. But take a walk on the outskirts of where you live, without a phone or music or any other technological mediation, and just look around the space and pay attention to how it embroils your emotions. I can nearly guarantee that you will find the place you live is much weirder than you thought it was, and you might even learn a thing or two about what your place values. I knew that Catholic church was in that general area of that path, but I didn’t realize how that path would empty me out before its hallowed presence. 

However, as I thought about it, it made sense that in this community the Catholic church would be found on the edges of the town. There are somewhere around ten other churches in a town of about 17,000 all of which are Protestant. However, if you go just ten or eleven miles west to the town of Umbarger, the roles are reversed. There is still one Catholic church, but as far as I know no Protestant churches. Merlin Coverley, in his book tracing the history of psychogeography, finds that “contemporary psychogeography as closely resembles a form of local history as it does a geographical exploration.” One could take the observations from their ambulation and dig into their place’s past to see why this might be the case. However, this is very much the chien of this psychological study of environment.  

What about the loup? Psychogeography has always had connections to the occult and the weird. Coverley continues later in his book, 

“Here, then, we find all the features ascribed to psychogeography today: the mental traveler who remakes the city in accordance with his own imagination is allied to the urban wanderer who drifts through the city streets; the political radicalism that seeks to overthrow the established order of the day is tempered by the awareness of the city as eternal and unchanging; and the use of occult symbolism reflects the precedence given to the subjective and the anti-rational over more systematic modes of thought.” 

All of this is to say that what we might find out about the place we live in when we give ourselves to its fringes and walk its shores might have a darker tone which implicates local politics and powers. Perhaps we will even find ourselves confronted by a metamorphosis which changes the very way we live, work, and move in these places. 

Sinclair’s earlier work Lud Heat in 1975 set out to remap London by way of connecting London’s churches built by eighteenth-century architect Nicholas Hawksmoor and their odd loci to numerous prominent murders like the Radcliffe Highway Murders and those by Jack the Ripper. There is a thread that ties some of the imagery Hawksmoor used in his churches to ancient Pagan symbolism. To put it bluntly, being intentionally attentive to surroundings can trigger investigations into the seen and unseen powers that hole up in our built environments and the natural world that pushes back against it. 

If nothing else, this study of the ambiguous transgressions between mind and place helps us bring a new profundity to our existence. It psychologically brings us back to a place where our intellectual, physical, and technological prowess cannot protect us from the hairs that stand on the back of our necks. Because everything, if attended to perceptively, can be seen as a dog or a wolf. And that should give us great pause in the everyday grind of our lives. 

Review
Culture
Film & TV
Monsters
War & peace
6 min read

The Fantastic Four taught me about family, truth and the end of the world

The whole film has a grown-up sophistication about what really matters.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

THe Fantastic Four stand on a podium
Walt Disney Studios.

I’ve just been to see the The Fantastic Four: First Steps, and honestly, I think it’s brilliant. It’s my favourite Marvel film in a long time. I might have to go all the way back to Guardians of the Galaxy to find something as funny, engaging, and moving. There’s a lightness to it, but also a surprising depth. 

First of all, the setting. It’s done in this beautiful, kitschy 1960s style—retro aesthetics, clean design, soft colours. It’s subtle, not forced, and it gives the whole film a kind of grown-up sophistication. Then there’s the casting—each of them is just spot on. Vanessa Kirby plays Sue Storm as an independent, intelligent, maternal powerhouse. And Pedro Pascal’s Reed Richards—brilliant but vulnerable—brings something pretty human to the role of a superhero. Even through the layers of CGI animation, Ebon Moss-Bachrach brings pathos and quiet dignity to the role of Ben Grimm aka The Thing.  

But what really grabbed me wasn’t just the style, the humour or the casting—it was the themes. At the heart of this film are some big, timely questions: about family, about sacrifice, about truth—and about how we respond when the world is falling apart. 

The power of sacrifice 

Here’s the big plot point—and this is not a spoiler because it’s in the trailer—the Fantastic Four are about to become the Fantastic Five. Sue Storm aka The Invisible Woman is pregnant. She portrays well that beautiful mix of nervous excitement that every expectant parent knows. But because she and Reed Richards aka Mr Fantastic are becoming parents with superpowers and gamma radiation in play there is an additional fear and uncertainty about their unborn child. In the middle of this domestic intimacy things escalate. A threat emerges—Galactus, a cosmic entity capable of devouring entire planets. Sue and Reed are given an impossible ultimatum: to relinquish their unborn child to Galactus and save the world or keep their child and see the world destroyed.  

The film could have taken the easy route and made the unborn child symbolic or vague. But instead, it takes this child seriously. There’s a very beautiful moment where Sue uses her invisibility powers to reveal their baby as a fit and healthy little boy asleep in her womb. He is real, precious and non-negotiable.  

The heroes will not even consider sacrificing the unborn child. They are willing to give up their own lives. They are willing to risk everything they have. But they won’t hand over their child to save the planet. 

That hit me hard in a culture where the idea of sacrificing a child—or at least, the rights of the unborn—has become politically and ethically contested. People take a range of views on the issue, but here is this blockbuster superhero movie saying: “No. Even if the planet is at stake, this child matters.”  This is a brave, countercultural stance that surprised me.  

It is also particularly poignant given a view that is becoming more widespread: some people are suggesting that in order to save the planet, we should stop having children. Clearly they genuinely believe the world would be better off without future generations. But that logic feels deeply broken. It is as if we are trying to protect the planet from children, instead of for them. 

What this film offers is a total reversal: the child is not the threat—the child is the hope. And for Christians, that resonates. Because at the heart of the gospel is the story of a child—born into a broken world, not to destroy it but to save it. And while Sue and Reed won’t give up their child to save the world, the Christian story is that God did just that.  He was willing to do what this superhero family wouldn’t—sacrifice his Son to save us.  

Truth and politics 

As if the personal and familial dilemma was not enough by itself, the film also raises important political questions. The Fantastic Four are given the ultimatum about saving the world in the privacy of a meeting with Galactus on the other side of the universe. When they finally make it back to earth, they are asked to make a press statement and told to keep it short. 

I found myself willing them to be quiet, to protect the privacy of their decision to save their baby, to save themselves the inevitable backlash, but instead they choose honesty. They tell the world the truth about the impossible decision they had to make—and why they made it. 

In today’s political landscape, that kind of transparency feels rare. We’ve seen moments—during COVID, during the cost-of-living crisis, even around immigration and the rescuing of Afghan families—when the public hasn’t always been trusted with the full picture. Leaders hide behind spin, afraid to speak plainly, or take responsibility. 

In the film we see what happens when the Fantastic Four choose honesty, even as a baying crowd surrounds their base. A speech is made that displays vulnerability, integrity, and courage. It reminded me that truth isn’t just about facts—it’s about trust. The best leaders are those who invite people into difficult conversations, who treat others as grown-ups, who inspire hope rather attract blame.  

How do you face the end of the world? 

It is not unusual for a superhero movie to navigate a global catastrophe, but this time planet earth is given some warning. The Silver Surfer comes as a herald ahead of the impending doom, warning of Galactus’ plan to devour the planet, and challenging people to use their time well, to celebrate life and show love to their families. The Surfer is almost a John the Baptist figure, although the prophet’s advice was repentance not just holding your loved ones closer. God was not coming to consume the earth for his own gratification, but to make the ultimate sacrifice to deal with the problem and reconcile humanity to himself.  

A headline in the Daily Express the other weekend claimed: “Global Crises send GEN Z to church” It does seem that for some young adults there is renewed interest in spiritual things in general and Christianity in particular. Perhaps it really is because the world feels like it is about to implode. With climate crisis, political chaos, and global conflict, people are looking for hope, purpose and salvation in real life as well as in happy endings to movies.  

Fantastic Four really made me think - while also making me laugh about car seats, pregnancy tests and giving birth on a spaceship.  I left feeling encouraged. Not because it offered easy answers, but because it reminded me that love—real, sacrificial, inconvenient, dangerous love—is still heroic. Truth matters. Children matter. Andd all the more so when faced with a brewing apocalypse. 

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