...he protested forty-six times, not only against the slave trade and capital punishment for theft, but also . . . against “consigning to distant exile and imprisonment of a foreign and captive Chief.” No library or repository can grow as quickly as the amount of available information. ...certain documents—“old periodicals, atlases, minute books”—must be put into the shredder rather than onto the shelves or into the filing cabinets.26 By actually transforming unwanted texts into objects of violence, the British salvage effort not only heightened the archive’s inherent drive towards destruction, but turned it outward. According to myth, upon her ascendance to the throne she was not only made male, but transformed into Amon-Ra, King of the Gods.) In the same way that, according to Egyptian mythology, gods are endlessly reborn as men, who become gods, who die as men only to be resurrected as gods, writing, in H.D.’s poem, transforms into a weapon and then back into writing. ...that the archaeological term “cartouche” was coined after the resemblance between hieroglyphic scrolls and early-nineteenth-century French cartridge boxes, and that the word itself etymologically stems from the Italian cartoccio—literally, “coffin of paper”—means that any boundary between text and weapon has been effaced.28 Both are conveyors of death. According to a preface that Bowen wrote for a collection of ghost stories, twentieth-century phantoms, unlike their Victorian predecessors, haunt “for haunting’s sake— much as we relive, brood and smoulder over our pasts”: Tradition connects them with scenes of violence—are we now to take it that any and every place is, and has been or may be a scene of violence?