Unlike its Christian predecessor, the eschatology of capitalism hits different. In place of locusts, plagues and horse riders, the end appears to us as rising sea-levels, nuclear war, or A.I. uprisings. While this impending doom ought to frighten us more, it has become blasé, even comedic, for capital has captured our teleological imaginations, and has sold our demise right back to us; as we suspend our belief in its existence, our entire relationship with the future has changed.

Yet, where Mark Fisher’s cancellation of the future leaves us feeling helpless, the work of Alessandro Sbordoni attempts to reverse this hauntological approach through a restoration of the potenza of the future as a nothingness that nonetheless haunts us; feedback from the future guides the present. If there is an end, it is also a beginning, which means the future is still up for grabs.

This book contains thirteen essays reflecting on capital’s relationship with its own end, from cultural analyses of Britney Spears, Donnie Darko or the Internet’s Backrooms, to strategic theories that frame culture as a series of weapons to be used to subvert and change the cultural hegemony of our time, and ward off the ghosts of the past.