In contemporary Anglophone road narratives, spaces are marked and changed by protagonists traveling through them. Similarly, spatial imaginaries, including narratives about the car, the road and specific geographies evoke certain social, cultural and environmental features equally open to change. My first reading stresses the relation between the car, space and sound in Jamal Mahjoub’s The Fugitives (2021) (4.2). This text shows how automobility and sound mobilise protagonists and connect distant places in unpredictable ways. Tara June Winch’s Swallow the Air (2006) challenges sedentarist thinking about Indigenous people in Australia by focusing on a young female traveller in search of her family (4.3). Moving to yet another geographical context, the final reading in this part zooms in on the Euro-African mobilities imagined in Oana Aristide’s apocalyptic road novel Under the Blue (2021) (4.4). Providing a nuanced, yet contradictory view of automobility’s destructive and protective tendencies, the novel’s spatial imaginary of Africa as a refuge for displaced Europeans may run counter to current discourses in the media, but it still reinforces a problematic narrative of Africa. All road narratives discussed in chapter 4 employ automobility to set spatial imaginaries in motion.