Iris Murdoch’s fiction is filled with the uncanny and the weird: drowned bodies, vampiric presences, telekinetic objects, angelic visitations, prophetic dreams, and adolescent “feyness.” Yet these phenomena are rarely reducible to her gothic atmosphere or the supernatural. Instead, Murdoch develops a psychology of haunting: a moral-psychological and ethical structure in which the spectral registers the persistence of trauma, the distortions of egoistic fantasy, and the unresolved presence of the past. There has been a significant amount of attention given to Murdoch’s explicitly gothic novels— The Flight from the Enchanter, The Bell, The Unicorn, The Italian Girl, The Time of the Angels—yet the supernatural flows consistently throughout Murdoch’s fictional work, far beyond her early gothic phase. From Jake Donoghue’s perception of Sadie Quentin as a witch in Under the Net to the strange angelic residue of Jackson in Jackson’s Dilemma, haunting becomes an enduring feature of Murdoch’s fictional world. The question is not whether Murdoch “believes” in ghosts but what psychological and ethical work haunting performs. (Details for all of Murdoch’s fictional works can be found …