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This article examines Derridean hauntology/spectrality in relation to Emily Brontë’s  Wuthering Heights  (1847) and Marina Carr’s  Portia Coughlan  (1996). Of central concern is how both texts use the figure of the spectre/revenant to deconstruct stable conceptions of temporality and futurity. Common tropes such as repetition, doubling, and wild landscapes will also be considered as being of vital importance to a twinned analysis of these two texts. It is the first sustained consideration of the intertextual links between Brontë’s novel and Carr’s play. A Derridean reading of  Portia Coughlan  will further emphasise and illuminate the haunted space that is contemporary Irish theatre and consider its preoccupation with the past and its relevance to the present and to an undecidable/queer future to come.

Spectres and (Queer) spectrality in Wuthering Heights and Portia Coughlan