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[…]links to activist website Scorecard: The Pollution Information Website, which enables users to search for the presence of environmental toxins by zip code. The Trade Secrets website also links to a 37,000-page archive of chemical industry documents assembled by the Environmental Working Group (EWG), a group that also operates the Human Toxome Project’s “Mapping the Pollution in People.” Links to this project provide users with a catalogue of particular toxicants found in human bodies all over the world. The project couples this chemical data with detailed portraits of real people who have tested positive for various toxicants and chemicals. Alaimo […]
[…]not from ash splints but from strips of celluloid (175). Repurposing the medium of film in order to communicate something both critical and complicit, both instrumental and useless, both European and Native American, Strawberry and Chocolate is, for Cohen, the signal that communicates the message of justice to both white and Native audiences. But what, then, of the networked wilderness? Although Cohen successfully proposes multiple messages to be interpreted according to methodologies developed by scholars of print culture and the history of the book, he leaves the media that convey those messages, and that form the links (known also as […]
[…]Press, 2007), and is one of affect theory’s strongest and most influential critics. See her latest piece, “The Turn to Affect: A Critique,” Critical Inquiry 37 (Spring 2011): 434-472. Perhaps this is an unfair and rather Pollyannaish set of expectations to try to load on any theoretical project—especially one whose distinct goal is to undo precisely the kind of conceptual chokehold that my stripe of polemical “rationalism” spawns. But it’s not incommensurate, I think, with the larger theoretical moves the volume’s two editors are trying to make: legitimating the study of affect by readerizing it and establishing themselves as The […]
[…]overdue presentation of major contemporary world-fictions, it is also the first critical work to comprehend what the American novel after Empire has become. For more than a century, even as political writers hesitated to call the United States an emerging empire, literary critics hesitated to use the term “epic” in describing works of literature. Yet that did not keep poets in America from attempting (and failing at) the production of a “nation poem” in the Renaissance tradition. Since Fennimore Cooper attributed Homeric stature to the American Indian, American novelists have shown a marked tendency to write in the epical register […]
[…]cycle presents such transgressions as queer sex, incest, pedophilia, kiddie and snuff porn with uncomfortable rigor and a brutally disengaged tone. Within them, the figure of George Miles circulates, sometimes named George, sometimes taking other names, other forms, but generally figuring as an effeminate young man carrying around a traumatic past, substance abuse problems, and a romanticized death drive, and always inhabiting an unknowable body upon which others can and do enact their fantasies. Many of these fantasies involve death, and the body count is high – though less than you might think if you’ve read about Cooper more than […]
[…]identity phenomena associated with the social ill of microaggression – in this case generalized to forms of discrimination not limited to race and ethnicity. Mimesis The story of Mimesis takes place in an underwater setting with subtly anthropomorphized sea creatures as characters. The player character (PC) is a mimic octopus, a species of octopus adept at emulating other creatures. The octopus is on a journey that takes it from the dark depths of the ocean to its home in the shallows. Along its way, the octopus encounters a series of sea creatures (non-player characters, or NPCs), whose utterances serve as […]
[…]to the constructivist heritage of doing away with the difference of art and design in order to open it up for everyone. Among others, Asger Jorn had founded a “Movement for an Imaginist Bauhaus” that became part of the Situationist International. Around the same time in the 1960s, other Fluxus artists factually undermined Maciunas by making books and book-like objects as auratic, collectible objects. They thus claimed a fine art domain within contemporary book culture and production. With bookstores such as Printed Matter in New York, Other Books and So in Amsterdam, and Motto in Berlin, the artists’ bookstore was […]
[…]travels (as pilgrims are wont to do), Elias suggests that the novel’s characters thus “occup[y] the suspended space of utopian possibility” that constitutes “a kind of anarchism in relation to capitalist and republican values” (38). Moreover, the novel’s generic shiftiness is tied to its anarchist ethics as aesthetic form meets political function, thus constituting “the grounds of its critique” (43). To be sure, Elias’ evocation of anarchism remains fairly general, and more of an abstraction than an actual political project, yet her argument is nonetheless compelling. Elias’ “postmodern pilgrimage” model with its attendant anarchist ethics and stress on communitas is […]
[…]in her essay on experimental multimodal literature, talks about the manner in which this mode “[tests] the limits of the book as a physical and tactile object” and makes the very act of reading a “performance” (Gibbons 420). One could also reference another evocative idea that Tomasula expresses – that of the “theatre space of the page” wherein words are not so much inscribed as “staged” in a productive interplay with images, pregnant/pulsating/inert emptinesses, unruly or absent margins, and inventive type and page design (Tomasula 5). This is a novel not so much about the certainty of meaning and knowing […]
[…]because “the human never comes completely into being, it is always trying to justify itself …. [T]he supposedly foundational act of the human can never cease, since it can never be founded on anything but the act itself” (89). The question of how continuous or not the present is with the forms of human domination Steel traces through the Middle Ages is one that I’ll return to below. But first, let me locate How To Make A Human at the vanguard of “an inter-disciplinary, cross-temporal, and theoretically interventionist medieval cultural studies,” as Eileen Joy puts it in postmedieval: a journal […]