Gothic as it is being written in postmillennial South Africa is a particularly engaged, particularly politically aware form of fiction-making. The monstrous, the horrifying and the weird (hallmarks of gothic narrative) are being mobilised in the post-apartheid culture of letters as one literary means through which to negotiate dissonant relationships with the neocolonial operation of neoliberal capital. Gothic seeks to occasion intense, sensory engagements with its readers and audiences, to the extent that it positions these as vulnerable or affectable. Fictions of this kind might offer us a means by which to begin a rerouting of the dehumanising principles of self-gain on which the logic of neoliberal capital is founded. In her Precarious Life, Judith Butler proposes that places of vulnerability constitute points from which an ethical mode of being might be projected.