Mxolisi Nyezwa’s Poetry of No Sure Place

A change in direction of the journal New Coin during the 1990s saw the emergence of a diverse group of poets who had previously struggled for publication. This article recognises this often overlooked collective and argues that they quickly established their own style of “Poetry of No Sure Place”, which expresses a malaise of sadness within South Africa that is popularly felt but rarely articulated. Focusing on three collections of poetry by Mxolisi Nyezwa, I show how this group’s work rests on a permanent – and possibly worsening – sense of imbalance. The article explores how Nyezwa attempts to reconcile a felt public and private need to write, struggles to find a source of connection and questions the permanence of social change in South Africa. Nyezwa epitomises the marginalisation, apprehension and uncertainty of New Coin’s Poetry of No Sure Place.     

Indifference and repetition: occupation testimonies and left-wing despair

As despair is increasingly seeping into leftist politics in many parts of the world, its long-held image as a hindrance to political activism still prevents the thriving literature on the politics of feeling from adequately theorizing this collective posture. This article seeks to probe the public manifestations of left-wing despair by looking at the despairing dispositions that have evolved in the Israeli Left in response to its failure to undermine Israel’s regime of occupation, using the coping modes this failure has sparked as a conduit for complicating the negative image of despair in politics. The analysis draws on two documentaries that showcase soldiers’ testimonies – Z32 and Censored Voices – in which the compulsive but fruitless repetition of witnessing is brought to the fore and serves as a platform for the enactment of despair as a distinctively public disposition. In dialogue with Wendy Brown’s notion of left melancholy and Lauren Berlant’s notion of cruel optimism, the article propounds despair – understood not as an affect, a feeling, or an emotion, but as a recursively performed posture – as an alternative analytic grid for grasping the contemporary agonies of the Left. Drawing on the Israeli documentaries, it demonstrates that despair may be propelled and perpetuated by two kinds of crises – a crisis of movement and a crisis of belonging. Taking both modalities as evidence that despair does not necessarily involve a withdrawal into the self and may transpire through public acts of care, the article claims, using Bonnie Honig’s work on public things, that the ground for the assessment of despair should be shifted from its presumed impact on political actors to the tangible imprints it leaves in the public settings in which action takes place.     

Not without my sister(s)

Less than two months after 11 September 2001, and a few weeks after the beginning of the US bombing campaign in Afghanistan, President George W. Bush made an urgent plea to see Iranian filmmaker Mohsen Makhmalbaf's Kandahar. Not only did the President want to see Kandahar; he encouraged US citizens to view it as well. This article offers two readings of Kandahar – the first suggestive of what its filmmaker Makhmalbaf saw in Afghanistan and the second suggestive of what Bush saw (or hoped to see) in Makhmalbaf's Afghanistan. In particular, this article focuses on how the Bush administration – against the intentions of Kandahar's director and star – propelled occidental subjects to ‘lift the veil’ on Afghanistan and on Afghan women by viewing Kandahar as if it positioned the feminine as a needy and willing object of US rescue. It was in part by laying this particular claim to the separated sisters of Kandahar that the Bush administration constructed a humanitarian US ‘we’ as among the foundations of its ‘moral grammar of war’ in the war on terror.     

Multiplicity expanded: IR theories,multiplicity, and the potential of trans-disciplinary dialogue

ABSTRACT

Despite the seeming fragmentation of the field of International Relations (IR), a theoretical common ground – not yet clearly perceived in the field – may in fact exist. Justin Rosenberg suggests that existing IR theories can all be conceived of as theories of ‘multiplicity’. This article carefully considers this proposition. It is argued that we may indeed read many IR theories as theories of multiplicity. Yet, in so doing we need to recognize the wide range of – and the contested nature of – perspectives on multiplicity in the field. Crucially, this leads us to conceive of multiplicity in an expanded way, beyond Rosenberg’s notion of ‘societal multiplicity’. Developing this more contested and expanded notion of multiplicity has important implications: for how we perceive IR and its limits in the years to come and, crucially, for the kind of trans-disciplinary dialogues IR scholars will engage in.     

The Dark Side of Art’s Social Turn: Towards a Discourse on the Impact of Art’s Use of Social Forms Upon the Social

The recent “social turn” in art, in which art favours using forms from social life above its own, has been extensively discussed. Relational Aesthetics by Nicolas Bourriaud, Conversation Pieces and The One and the Many by Grant Kester, essays by Claire Bishop who supplies the term “the Social Turn,” and her recent publication Artificial Hells, are now as important to the field as the art they scrutinise. Ironically, however, when this discussion regards the implications of the “turn”, it habitually addresses the effects of this development from – and for – art’s point of view, overlooking the way in which artists’ inroads into social life may be differently regarded in the social realm. As much as this represents a failure to illuminate a particular area for knowledge, it also signifies a failure to take art’s revalorised commitment to the social to its ethical conclusion: such, from two perspectives, is the “dark side” of art’s social turn. This article seeks to mitigate these oversights. In particular, it looks at art in which an artist undertakes another person’s professional work. Considering the effects of this on those whose practices are appropriated, I propose a consultative approach, involving ethnographic and empathetic modes of address. Consequently, this article does not present an answer to the question it poses, “how do professionals in the social realm see art’s appropriations of their practices?” but rather, a framework for approaching that.     

On being affected: feeling in the folding of multiple catastrophes

ABSTRACT

How possible is it for a life of ongoing feeling to hold, given the world’s current becomings? Much of this article will consider three of the most pervasive of the current disruptions as disruptions of living and feeling: climate change, social change, and, in more detail, what I will call a ‘third media revolution’. All three of these disruptions (and many others) are themselves multiple. They all fold through each other. Living and feeling thus find themselves in the midst of catastrophic multiplicity. This catastrophic multiplicity haunts much of what’s going on. Questions concerning what can be felt within this folding of catastrophes into each other are important contemporary questions. Feeling itself – what it is, what it does, and what the future of feeling might be – has become both a field of struggle, and a complex and open-ended question. A secondary set of questions here will concern the future of studies in relation to these questions of living and feeling – of Cultural Studies, Media Studies, disciplinarity in general, and finally ‘study’, as discussed by Moten and Harney (2013. The undercommons. New York: Minor Compositions).     

Hybridizing the canon: Russian-American writers in dialogue with Russian literature

Since the beginning of the twenty-first century, Russian-American writers – that is, Russian-speaking Jews who immigrated to North America from the late 1970s to the early 1990s – have garnered both a wide readership and critical acclaim. Although they live in the United States and write in English, their works manifest a marked focus on Russian-related themes, including the frequent employment of Russian literature. Three Russian-American texts engage in sustained intertextual play: Irina Reyn’s What Happened to Anna K. with Lev Tolstoi’s Anna Karenina; Lara Vapnyar’s Memoirs of a Muse with the diary of Fedor Dostoevskii’s mistress, Polina Suslova; and Anya Ulinich’s Petropolis with Osip Mandel’shtam’s poem “Na strashnoi vysote bluzhdaiushchii ogon'” (“At a terrifying height a wandering fire”). This article has two interrelated aims. The first is to demonstrate that, similar to postcolonial and other diasporic writers, Russian-American writers’ intertextual use is inextricably linked with a negotiation of cultural identities. The second is to offer a close analysis of the ways in which Reyn’s What Happened to Anna K., Vapnyar’s Memoirs of a Muse, and Ulinich’s Petropolis recast Russian texts as Russian-American elaborations of cultural hybridity and immigrant sensibility.     

Mediating affect in John Pilger’s Utopia: ‘the good life’ as a structure of whiteness

ABSTRACT

This article proposes that whiteness should be thought of as an affective structure, theorizing whiteness in terms of optimism, possessive subjectivity and multiculturalism. The article shows how the optimism of ‘the good life’ [Berlant, L., 2011. Cruel optimism. Durham, NC: Duke University Press] is linked structurally to whiteness in the construction of the Australian nation-state. In this context, Utopia [2013. Film. Directed by John Pilger. Australia: Antidote Films] specifically identifies whiteness as an affective structure. The article develops by unpacking this claim. First, I consider how the affective structure of the Australian nation-state is encountered through the mutual mediation of ‘media’ and ‘place’. I focus on the example of the film's journey to Rottnest Island – formerly an island prison, now the destination of holiday makers – to highlight how the optimism of arrival links whiteness to the present. Second, I develop an analysis of the affective surfaces of whiteness by analyzing the film's encounter with ‘White Man faciality’ [Deleuze, G. and Guattari, F., 1987. A thousand plateaus: capitalism and schizophrenia. Minneapolis: University of Minnesota Press] and Indigenous ‘slow death’ [Berlant, L., 2011. Cruel optimism. Durham, NC: Duke University Press]. Through producing a series of faces, Utopia portrays whiteness as a deflective surface that propagates the ‘onto-pathology’ of white Australia [Nicolacopoulos, T. and Vassilacopoulos, G., 2014. Indigenous sovereignty and the being of the occupier: manifesto for a white Australian philosophy of origins. Melbourne: Re.press]. Utopia also portrays whiteness as an absorptive surface in which Aboriginal self-possession – including, in the form of life – disappears. The film emphasizes the loss of Aboriginal life through illness and suicide linked to incarceration, overcrowding and state-induced impoverishment. The article concludes by locating media (including Utopia) within the tension between absorption and deflection as a tension between the different spatial actions of the affective relations that mediate whiteness.     

‘Black holes in the fabric of the nation’: refugees in Mohsin Hamid’s Exit West

ABSTRACT

This article explores the representation of refugees in Mohsin Hamid’s Exit West, a novel which has been widely celebrated for its response to the refugee crisis of its contemporary moment. In a distinct echo of Salman Rushdie’s claim, thirty-five years earlier, that it ‘may be argued that the past is a country from which we have all emigrated’, Hamid’s novel similarly claims that ‘we are all migrants through time.’ Moreover, like Rushdie’s fiction, Hamid’s novel incorporates elements of magical realism: its protagonists escape their unnamed war-torn city through a ‘door’ that instantaneously transports them to Mykonos, and they subsequently travel through other such ‘doors’ to London and California. Their story is interspersed with a series of vignettes in which other migrants also find themselves magically transported across national borders. As well as considering the ways in which Hamid’s novel seeks to humanise refugees, this article considers the novel’s evocation of a world in which human beings – like capital, images, and (mis)information – have gained access to largely ungovernable networks of instantaneous travel across vast distances. It argues that Hamid’s novel is not just ‘about’ refugees but also constitutes a reflection on how they and their journeys are represented and mediated by actually-existing technologies.     

“See Media”: Coco Fusco’s Direct Address and the Performance of In/Security

Abstract

A Room of One’s Own: Women and Power in the New America (2006–2008) is a multi-media performance art piece by visual artist Coco Fusco. In a lecture style performance staged at the Museum of Modern Art (MoMA) as part of their 2007 symposium The Feminist Future: Theory and Practice in the Visual Arts, Fusco explores the use of women in US military interrogation efforts during the height of the War on Terror and – problematic and violent as it may be – mounts a parallel attack against the art world itself. Although invited to speak, Fusco speaks (performs) out of turn – and out of sync in order to level a critique at the very establishment in which the symposium was held. In doing so, Fusco directs our attention towards the interwoven workings of power, surveillance, silence, and the making and the performances of particular kinds of citizen/subjects/enemy combatants/art objects/interrogators/artists. This article seeks to address how visual culture and US military security discourses are inextricably linked through interwoven histories and unsettling relationships between race and national security, national security and feminism, as well as race and feminism.     

Out of the ordinary: research participants’ experiences of sharing the ‘insignificant’

How do research participants feel about having their ‘ordinary’ lives researched? This article focuses on how research participants manage the sharing of details emerging out of their ordinary lives in the context of research – an activity which, for most, is outside of the ordinary. Despite two significant research turns – towards reflexivity and towards the ‘everyday’ – these experiences remain curiously neglected. Drawing on a study of small acts of help and support, I seek to push methodological debate about researching the ordinary beyond the technical challenges of surfacing or capturing the apparently mundane or ‘insignificant’. I do so by arguing that background feelings rooted in the living of, and sharing about, the ordinary are analytically important in their own right; that the ‘ordinary’ itself, therefore, has to be managed by research participants and researchers; and that Goffman’s notion of performance is a useful tool for understanding how this is done.     

A strange lobster tale of self-sacrificial transversality: or,transversal poetics flourishes in the spectral ether of Deleuze,Bataille, and Shakespeare

ABSTRACT

Written from the perspective of Transversal Poetics, this essay involves an exploration of the theory’s various selves in the context of a self-immolating spectacle staged at London’s New Globe Theatre by the theory’s progenitor, Dr. Bryan Reynolds. The essay outlines the history of this scandalous affair, which was inspired by the work of Rodrigo Garcia (Accidens: Matar Para Comer), Deleuze and Guattari, and George Bataille. Transversal Poetics travels with Reynolds to London and is shocked and appalled by the lurid transgression that unfolds on stage as Reynolds is hung on a massive hook and then dismembered for the adoring crowds. Exploring the complexity of its own reactions to this new initiative by Reynolds – and his attempt to conceive an ‘offspring’ with Bataille through a highly questionable and outrageous Deleuzian approach – Transversal Poetics is itself subtly transformed. It casts a powerful light on the urban milieu surrounding the New Globe (Southwark, the City of London) as it brings the era of neoliberal financialization to a close. A lobster-city that combines both ‘central place’ and the ‘maritime’ qualities (as identified by Christaller), London turns out to be the perfect location for the demolition of the Deleuzian taboo against the sacrificial.     

New York: The Animated City

Abstract

The urban landscape of New York City is one that is familiar to many, but, through the medium of animation, this familiarity has been consistently challenged. Often metamorphic, and always meticulously constructed, animated imagery encourages reflective thinking. Focusing on the themes of construction, destruction, and interactivity, this article seeks to cast critical light upon the animated double life that New York City has lived through the following moving image texts: Disney’s Fantasia 2000 (1999), Patrick Jean’s computer-generated short Pixels (2009), and Rockstar Games’ open-world blockbuster Grand Theft Auto IV (2008).     

Infectious Innovations? The Diffusion of Tactical Innovation in Social Movement Networks,the Case of Suffragette Militancy

This paper explores the diffusion of a tactical innovation – militancy – within the British Suffrage Movement, 1905–1914. It concentrates upon the influences that arise from personal social networks and which affect ego's decision about whether to adopt the new tactic. UCINET is used to map and visualise the activist networks of two suffragettes who made different adoption decisions. This reveals that ‘weak ties’ to ‘innovation champions’ (i.e. suffragette ‘travelling organisers’) connected both women to opportunities to learn about, observe and adopt militancy. In order to explain why one suffragette adopted the tactic and the other did not, however, there is a need to link structural and cultural analyses of social networks together. Here, I do this by following up empirically what Fuhse [Fuhse, J. (2009). The meaning structure of social networks. Sociological Theory, 27, 51–73] has called the ‘meaning structure of the network’ consisting of interpersonal expectations and network culture. I propose that the ‘meaning structure’ of the network is linked to the structural patterning of social ties – and the subjective meanings of ego – through the communicative interaction in which they both are rooted [Mische, A. (2003). Cross-talk in movements: Rethinking the culture-network link. In M. Diani & D. McAdam (Eds.), Social movements and networks: Relational approaches to collective action (pp. 258–280). Oxford/New York: Oxford University Press]. Focusing on communicative interaction and intersubjective meanings indicates that there is value in approaching personal networks as socio-cultural ‘lifeworlds’ [Habermas, J. (1987). The theory of communicative action, volume 2: System and lifeworld. Boston, MA: Beacon Press; Passy, F., & Giugni, M. (2000). Life-spheres, networks, and sustained participation in social movements: A phenomenological approach to political commitment. Sociological Forum, 15, 117–144.). This approach is particularly valuable in highlighting the construction of a ‘moral point of view’ within networks, which fundamentally shapes the symbolic legitimacy of culturally controversial tactics.     

Workplace flexibility: a model of change

The inception of When Work Works – a theoretical- and research-based model of change in promoting effective and flexible workplaces – dates back to the confluence of a number of factors in the early 1990s. One decade later, this ‘perfect storm’ of factors led to the creation of When Work Works, and two decades later, to this critical assessment of the foundation for and results of this model of change. When Work Works has used partnerships with nationwide business organizations with community chapters in combination with media coverage, educational events, the creation of tools and materials and grassroots methods to communicate well-researched information to employers that show workplace flexibility is not just a favor or perk for employees but can be a powerful strategy for promoting better outcomes for both employers and employees. The program has been responsible for implementing a rigorous award and providing numerous community-based recognition and educational events on workplace effectiveness and flexibility around the country and for assisting many employers to effectively create more flexible and effective workplaces. When Work Works has been designed around eight key principles for creating change on a national level. This paper presents the context in which When Work Works evolved, a detailed discussion of the eight principles of Families and Work Institute's model of change, its results and lessons other organizations may wish to apply in their own change initiatives.     

Mothers behaving badly: chaotic hedonism and the crisis of neoliberal social reproduction

ABSTRACT

This article focuses on the significance of the plethora of representations of mothers ‘behaving badly’ in contemporary anglophone media texts, including the films Bad Moms, Fun Mom Dinner and Bad Mom’s Christmas, the book and online cartoons Hurrah for Gin and the recent TV comedy dramas Motherland, The Let Down and Catastrophe. All these media texts include representations of, first, mothers in the midst of highly chaotic everyday spaces where any smooth routine of domesticity is conspicuous by its absence; and second, mothers behaving hedonistically, usually through drinking and partying, behaviour that is more conventionally associated with men or women without children. After identifying the social type of the mother behaving badly (MBB), the article locates and analyses it in relation to several different social and cultural contexts. These contexts are: a neoliberal crisis in social reproduction marked by inequality and overwork; the continual if contested role of women as ‘foundation parents’; and the negotiation of longer-term discourses of female hedonism. The title gestures towards a popular British sitcom of the 1990s, Men Behaving Badly, which popularized the idea of the ‘new lad’; and this article suggests that the new lad’s counterpart, the ladette, is mutating into the mother behaving badly, or the ‘lad mom’. Asking what work this figure does now, in a later neoliberal context, it argues that the mother behaving badly is simultaneously indicative of a widening and liberating range of maternal subject positions and symptomatic of a profound contemporary crisis in social reproduction. By focusing on the classed and racialised dynamics of the MBB – by examining who exactly is permitted to be hedonistic, and how – and by considering the MBB’s limited and partial imagining of progressive social change, the article concludes by emphasizing the urgency of creating more connections between such discourses and ‘parents behaving politically’.     

The rhythms of social movement memories: the mobilization of Silvio Meier’s activist remembrance across platforms

ABSTRACT

This article presents a temporal analysis of the activist remembrance of Silvio Meier, a prominent member of Berlin’s radical left scene, who was stabbed to death in 1992. It asks: when has Meier’s activist remembrance occurred and been remediated, with what rhythms, and how has it been influenced by different platforms? To answer these questions, the article draws on the literature dedicated to the interface between social movements and collective and connective memory, and applies Lefebvre’s rhythmanalysis approach. Within this approach a diverse set of material is used to visualise the timing of the digital and non-digital remediation and mobilisation of Meier’s remembrance across different platforms of memory including commemorative events, newspapers, websites and social media. Thereafter the various temporalities of use associated with these platforms and how they can influence the mobilisation of remembrance by social movements is discussed using Lefebvre’s concepts of polyrhythmia, arrhythmia, isorhythmia, eurhythmia and with respect to, firstly, a fifteen-year period between 2002 and 2017 and secondly, a fifteen-day period between 15 November and 30 November 2012 around the twentieth anniversary of Meier’s death. The article concludes by introducing another Lefebvrian concept – dressage – in order to consider which rhythms of activist remembrance might most benefit social movements and their goals. Overall, by demonstrating the importance of attending to the when and not only the what, who, where and how of social movement memories and by highlighting the need to consider the temporal influence of the different digital and non-digital platforms that activists use, as well as, by indicating the broader potential of applying rhythmanalysis approaches to instances of activism, the article has broader relevance for the further study of social movements, their use of different media and their mobilization of memory.     

Dwelling in epistemic disobedience: A reply to Go

In Thinking Against Empire: Anticolonial Thought as Social Theory, Julian Go continues his vital work on rethinking and redirecting the discipline of sociology. Go’s piece relates to his wider oeuvre of postcolonial sociology – found in works such as his Postcolonial Thought and Social Theory (2016) as well as multiple journal articles on epistemic exclusion (Go 2020), Southern theory (Go 2016), metrocentrism (Go 2014), and the history of sociology (Go 2009). In this response article, my aim is to think alongside some of the central themes outlined in Go’s paper rather than offering a rebuttal of any sorts. In particular, I want to think through how the recent work on ‘decoloniality’ may play more of a central role in Go’s vision of sociology and social theory than he acknowledges. In doing so, I hope to engage in Go’s prodigious scholarship through centering discussions of the geopolitics of knowledge, double translation, and border thinking. Before proceeding to this discussion, I will offer a brief review of my reading of Go’s paper.     

JOHANNESBURG INTERIORS

Almost two decades into the post-apartheid era, inner-city Johannesburg – like much of South Africa – remains structured by deeply ingrained forms of physical and imaginative segregation. Building on architect Sarah Calburn's suggestion that one way to address these divisions would be to make the city's external or outside spaces feel more like domestic interiors as well as on the calls of writer Njabulo Ndebele for new forms of public intimacy, this article explores three distinct artistic projects that each attempt to push beyond segregation by opening up private homes for public perusal and/or making public space more intimate and home-like: Kgebetli Moele's novel Room 207, Christoph Gurk's performance art collection X Homes Johannesburg and Terry Kurgan's public photography/digital media experiment Hotel Yeoville. Working with concepts of home, hotels and hospitality, it theorizes the modes of ‘intimate exposure’ these projects enact as forms of hospitality or Derridean ‘hos(ti)pitality’ potentially capable of welcoming diverse groups into a shared public space while at the same time foregrounding inequalities in need of redress. While the role of artistic projects in shaping culture should not be overemphasized, the article also underscores how such works have emerged in contemporary South Africa as vibrant ways of thinking in public and thinking the public.     

Rethinking Theory

‘Capitalist racist patriarchy’ is how Zillah Eisenstein (1998 Eisenstein, Z. R. 1998. Global Obscenities: Patriarchy, Capitalism, and the Lure of Cyberfantasy, New York: New York Press.  [Google Scholar]) characterizes global inequalities and the hierarchies of ‘difference’ they constitute. This article assumes that feminist theory aims not only to ‘empower women’ but to advance critical analyses of intersecting structural hierarchies; that this entails not only a critique of patriarchy but its complex conjunction with capitalism and racism; and that such critique requires rethinking theory. Through a critical lens on devalued (‘feminized’) informal work worldwide, the article explores how positivist, modernist and masculinist commitments variously operate in prevailing theories of informality – including those of feminists – with the effect of impeding both intersectional analyses and more adequate critiques of capitalist racist patriarchy.