Ghostlines is a graphic novel that describes the journey of the author and three Kenyan artists along the LAPSSET development corridor, a braid of roads, pipelines, and resort cities that promises to bring development to Kenya’s marginalized north. It mixes conceptual and empirical insights into the human geography of infrastructure with the narrative flexibility and depth afforded by the medium graphic novel – a geo-graphic novel.

They meet Peter, a retired pilot who had previously worked for a conservancy and can tell stories about the LAPSSET from high above and from the ground. He understands how everyone involved is seeking to benefit from the corridor in their own way, even if that means building uninhabited “ghost huts” that manifest the presence of pastoral communities and thus qualify them for compensation. Jane is an activist for a women’s and Indigenous rights organization. She’s been fighting invisible monsters her entire life: stalking hyenas (metaphorical and real), corrupt politicians, and the patriarchy itself. The spectre of the LAPSSET is only the last one of these hidden monsters. They meet Joseph, a herder, who hopes that the LAPSSET might connect him to far places but worries that it will instead cut him off of the grazing grounds that are essential for the survival of his family. What is the LAPSSET – a road or a fence? In Oldonyoro they meet Rashid, a poet, who writes about the long history of the corridor. In his mind, it reaches far back to colonial times. “My grandfather suffered greatly,” he writes, “Is it my turn to face the worst? I wonder, a tricky treasure”. In the last village on their journey, they meet a group of women who have come together to support each other. Their position on the LAPSSET is more optimistic. The real connections of solidarity they forged contrast with the imaginary ghostlines of the LAPSSET. The narrative structure of the geo-graphic novel draws connections between the narrators, that is, the team of researchers and artists and the interviewees. They seek to unravel the idea of the omniscient or unbiased narrator and to reveal how storytellers bring their own ghosts into stories. By connecting all of these narratives along their journey, they challenge the single, universalist story that planners tell about large-scale infrastructure projects. Instead, they invite the reader to embrace the often-contradictory multiplicity of infrastructural relations, to see the ostensibly solid lines on maps for what they are: a messy, ever-changing braiding of multitudes.