Download After critique. Twenty-first-century fiction in a neoliberal by Mitchum Huehls PDF

By Mitchum Huehls

ISBN-10: 0190456221

ISBN-13: 9780190456221

After critique' identifies an ontological flip in modern U.S. fiction that distinguishes our present literary second from either postmodernism and so-called post-postmodernism. This flip to ontology takes many varieties, yet ordinarily After Critique highlights a physique of literature-work from Colson Whitehead, Uzodinma Iweala, Karen Yamasthia, Helena Viramontes, Percival Everett, Mat Johnson, Kim Stanley Robinson, Read more...


taking on 4 varied political themes-human rights, the relation among private and non-private house, racial justice, and environmentalism-After Critique means that the ontological varieties emerging Read more...

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Extra info for After critique. Twenty-first-century fiction in a neoliberal age

Example text

As Lash explains: [L]‌ate-modern culture, quite rightly understood in terms of “the media,” can never represent without sending, without transmitting or communicating. Indeed, contemporary “economies of signs and space,” especially in their capacity as information, have a lot more to do with transmission than with representation. That is, in contemporary culture the primacy of transmission has displaced the primacy of representation. Contemporary culture is thus a culture of movement.  (276) Echoing Cherniavsky’s serial culture of “movements and affiliations,” Lash’s description helps us understand that even as neoliberalism’s ontologized culture is one of rapid movement and interconnection, it’s also not a culture of immanent flow.

Instead, the succeeding link in the chain lends its own ontological heft, its own position in the social configuration, to the preceding link. New contexts and alliances are established as the initial link connects forward to the ensuing one. Some of the things that were unclear or underdeveloped in the original thing are given shape and voice in the new thing. Ideas, concepts, and values previously excluded from the world find themselves increasingly included. Value becomes a function of position and place, connection and transmission.

All we can do right now is pay witness” (233). More than mere representation, Quiet Storm’s text is a transmission that alters the landscape rather than just referring to it. Like the zombies whose “inhuman 28 After Critique scroll” argues loudly for their presence, for their inclusion in the city, the non-referential language of this auto text speaks the fact of its own existence, translating Quiet Storm forward and linking her to the things her text comprises as well as to those who encounter it.

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