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It is widely recognised that the growing awareness that we are living in the Anthropocenean unstable geological epoch in which humans and their actions are catalysing catastrophic environmental change-is troubling humanity's understanding and perception of temporality and the ways in which we come to terms with socio-ecological change. This article begins by arguing in favour of posthumanism as an approach to this problem, one in which the prefix 'post' does not come as an apocalyptic warning, but rather signals a new way of thinking, an encouragement to move beyond a humanist perspective, and to abandon a social discourse and a worldview fundamentally centred on the human. The article then explores how the impending environmental catastrophe can be productively reimagined through graphic narratives, arguing that popular culture in general, and comics in particular, emerge as productive sites for geographers to interrogate and develop posthuman methodologies and narratives. Developing our analysis around two comics in particular-Here (McGuire, 2014) and Mad Max: Fury Road (Miller et al., 2015)we show how graphic narrative can help us to move beyond the nature-society divide that is rendered anachronistic by the Anthropocene.

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This is the submitted version of the paper.This version of the publication may differ from the final published version. argues that in fact it is this unusual if not, at the time of its publication, unique perspectival orientation that enables the novel's interrogation of structural violence. Permanent repository linkWritten from a victim-oriented perspective, the novel excavates the varying layers of structural violence as they are spread both socially and also geographically to show how the colonial administration and its legal system are complicit with, if not actively facilitating, the exploitation of Ceylon by the structures of global capitalism, as well as highlighting the ramifications of the unevenly developing capitalist economy that slowly sutures the island into these cross-national networks.

This article offers a close analysis of a trilogy of 'refugee comics' entitled 'A Perilous Journey', which were produced in 2015 by the non-profit organisation PositiveNegatives, to conceive of comics as a bordered form able to establish alternative cross-border formations, or 'counter-geographies', as it calls them. Drawing on the work of Martina Tazzioloi, Thierry Groensteen, Jason Dittmer, Michael Rothberg and others, the article argues that it is by building braided, multi-directional relationships between different geographic spaces, both past and present, that refugee comics realise a set of counter-geographic and potentially decolonising imaginaries. Through their spatial form, refugee comics disassemble geographic space to reveal countergeographies of multiple synchronic and diachronic relations and coformations, as these occur between different regions and locations, and as they accumulate through complex aggregations of traumatic and other affective memories. The article contends that we need an interdisciplinary combination of the critical reading skills of humanities scholars and the rigorous anthropological, sociological and theoretical work of the social sciences to make sense of the visualisation of these counter-geographic movements in comics. It concludes by showing how the counter-geographies visualised by refugee comics can subvert the geopolitical landscape of discrete nation-states and their territorially bound imagined communities.