This chapter offers a reading of poet and novelist Maureen Duffy's Capital,¹ the second work in her London trilogy, which I would like to describe, at least initially, as a chorographical text.² Though given relatively recent attention in the work of Gregory Ulmer, and bearing a passing resemblance to the Situationist International's concept of psychogeography, chorography is an Early Modern discourse, the most famous extant example being Michael Drayton's self-styled "topo-chrono-graphical" poem, Poly-Olbion, printed in 1613. The purpose of chorography for Elizabethan intellectuals was to map the various historical, folkloric, and cultural resonances which could be unearthed in one location, specifically at the county level, as a means of producing a mythical and ideological identity that acknowledged singularity while showing analogically the resonance, both temporally and spatially, between local and national identity. It was also, often, an act of writing, which, like psychogeographical texts of the twentieth century, aimed to generate complex and unanticipated relations in the reading of place, vertiginous dislocations of undifferentiated identity in the service of cultural mythologization. Frequently tied to early modern cartography, the chorographical intent was largely hegemonic.