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A Vagrant Sensibility

The second chapter, ‘A Vagrant Sensibility: Patrick Keiller’s Robinson Films’, casts new light on Keiller’s later work, partly by considering it in relation to the idea of ‘left-wing melancholy’ and Svetlana Boym’s writing on nostalgia. If, as Raymond Williams wrote, ‘there is usually principle in exile, there is always only relaxation in vagrancy’, then this chapter shows how the vagrant wanderings of ‘Robinson’ through London and England are able to both ‘luxuriate’ and to produce a potent critique of capital, landscape, and culture. Beginning by reading the Robinson of London (1994) as an urbanist swayed not so much by the ebb and flow of the Baudelairean crowd as by the blips and dips of the free-market economy, it then examines the ‘English Journey’ of Robinson in Space before enquiring into Keiller’s own critique in Robinson in Ruins (2010) of Heideggerian dwelling as the process of ‘entering in simple oneness into things’.