This chapter traces Blake’s vexed and fragmentary mapping of London. It suggests that Blake’s approach to metropolitan mapping is crystallised in his image of “golden string.” This image offers a model for both navigating Blake’s unmappable texts and navigating (and thereby potentially re-mapping and re-making) an alienating urban world. This is related to Blake’s tendency to privilege “crooked” roads or routes over the “straight and narrow” model set forth in John Bunyan’s seventeenth-century allegory The Pilgrim’s Progress and reproduced in eighteenth-century cartographic representational practices. In this chapter, we witness how Blake’s cartographies of London differed from the “straight” lines of representations like Richard Brothers’ Plan of the New Jerusalem or Thomas Hope’s plan of London’s Royal Exchange. By contrast, one can locate analogues for Blake’s “crooked” roads in picturesque aesthetics and Romantic-era poetry. Anthropologist Tim Ingold remains a key theoretical interlocutor in this chapter, in addition to earlier twentieth-century writers on urban spaces, especially Michel de Certeau and Henri Lefebvre. In all cases, the chapter aims to characterise Blake as a little-acknowledged precursor to the direction of spatial theories in recent decades.