This article examines how Teju Cole's Every Day Is for the Thief (2007; 2014) and Chibundu Onuzo's Welcome to Lagos (2017) construct Lagos as a haunted urban formation whose spectral histories resist and ultimately expose the rationalizing logic of neoliberal spatial production. Drawing on Avery Gordon's theorization of haunting as a mode of social knowledge, AbdouMaliq Simone's concept of the city as a space of unfinished socialities, and David Harvey's critique of neoliberal urbanism, the article argues that both novels position the ghost not as a nostalgic figure of loss but as a politically insurgent remainder, the unassimilable residue of colonial infrastructure, military-era dispossession, and structural adjustment's human wreckage that continues to trouble Lagos's reinvention as an Afropolitan capital. The article further contends that the two texts are most productively read not in parallel but in productive tension, since Cole's flânerie of estrangement and Onuzo's immersive subaltern geography represent divergent epistemological orientations toward the same haunted city, orientations whose very difference illuminates the contested stakes of urban legibility in contemporary Nigeria. By attending to spectral urbanism as a literary-critical category rather than a purely sociological one, the article opens new ground at the intersection of postcolonial literary studies and African urban theory.