Theory & Criticism

Enrique Dussel is considered one of the founding philosophers of liberation in the Latin American tradition, an influential arm of what is now called decoloniality. While he is astoundingly prolific, relatively few of his works can be found in English translation - and none of these focus specifically on education. Founding members of the Latin American Philosophy of Education Society David I. Backer and Cecilia Diego bring to us Dussel's THE PEDAGOGICS OF LIBERATION: A Latin American Philosophy of Education, the first English translation of Dussel's thinking on education, and also the first translation of any part of his landmark multi-volume work Towards an Ethics of Latin American Liberation.

Drawing heavily from the ethical philosophy of Emmanuel Levinas, Dussel examines the dominating and liberating features of intimate, concrete, and observable interactions between different kinds of people who might sit down and have face-to-face encounters, specifically where there may be an inequality of knowledge and a responsibility to guide, teach, learn, care, or study: teacher-student, politician-citizen, doctor-patient, philosopher-nonphilosopher, and so on. Those occupying the superior position of these face-to-face encounters (teachers, politicians, doctors, philosophers) have a clear choice for Dussel when it comes to their pedagogics. They are either open to hearing the voice of the Other, disrupting their sense of what is and should be by a newness beyond what they know; or, following the dominant pedagogics, they can try to communicate and instruct their sense of what is and should be to the (supposed) tabula rasas in their charge. Dussel calls that sense of what is and should be "lo Mismo."

This groundbreaking translation makes possible a face-to-face encounter between an Anglo Philosophy of Education and Latin American Pedagogics. "Pedagogics" should be considered as a type of philosophical inquiry alongside ethics, economics, and politics. Dussel's pedagogics is a decolonizing pedagogics, one rooted in the philosophy of liberation he has spent his epic career articulating. With an Introduction by renowned philosopher Linda Martin Alcoff, this book adds an essential voice to our conversations about teaching, learning, and studying, as well as critical theory in general.

ENRIQUE DUSSEL was born in 1934 in the town of La Paz, in the region of Mendoza, Argentina. He first came to Mexico in 1975 as a political exile and is currently a Mexican citizen, Professor in the Department of Philosophy at the Iztapalapa campus of the Universidad Autónoma Metropolitana (Autonomous Metropolitan University, UAM), and also teaches courses at the Universidad Nacional Autónoma de México (National Autonomous University of Mexico, UNAM).

In Archive Fever, Jacques Derrida deftly guides us through an extended meditation on remembrance, religion, time, and technology, fruitfully occasioned by a deconstructive analysis of the notion of archiving. Intrigued by the evocative relationship between technologies of inscription and psychic processes, Derrida offers for the first time a major statement on the pervasive impact of electronic media, particularly e-mail, which threaten to transform the entire public and private space of humanity. Plying this rich material with characteristic virtuosity, Derrida constructs a synergistic reading of archives and archiving, both provocative and compelling.

This book brings together five essays by Jacques Derrida, which advance his reflections on many issues: lying, perjury, forgiveness, confession, the profession of faith, and, most recently, cruelty, sovereignty, and capital punishment.

Strongly linked by their attention to "performatives" and the "as if," the essays show the necessity of thinking beyond the category of acts that are possible for a subject. Derrida argues forcefully that thought must engage with the im-possible, that is, the order of the unforeseeable event, the absolute future still to come. This acute awareness of the limits of performative programs informs the essays throughout and attunes them closely to events of a world undergoing "globalization."

The first essay, "History of the Lie," reviews some classic and modern definitions of the lie (Augustine, Rousseau, Kant, Koyré, Arendt), while renewing questions about what is called lying, as distinguished from other forms of nontruth. This inventive analysis is followed by "Typewriter Ribbon," which examines at length the famous lie recounted by Rousseau in his Confessions, when he perjured himself by accusing another of his own crime.

Paul de Man's reading of this textual event is at the center of Derrida's patient, at times seriously funny analyses. " Le parjure, Perhaps" engages with a remarkable novel by Henri Thomas that fictionalizes the charge of perjury brought against Paul de Man in the 1950s. Derrida's extraordinary fineness as a reader and thinker of fiction here treats, to profound effect, the "fatal experience of perjury."

The two final essays, "The University Without Condition" and "Psychoanalysis Searches the States of Its Soul," address the institutions of the university and of psychoanalysis as sites from which to resist and deconstruct the nontruth or phantasm of sovereignty. For the university, the principle of truth remains at the core of its resistance; for psychoanalysis, there is the obligation to remain true to what may be, Derrida suggests, its specific insight: into psychic cruelty. Resistance to the sovereign cruelty of the death penalty is just one of the stakes indicated by the last essay, which is the text of a keynote address to the "States General of Psychoanalysis" held in Paris, July 2000.

Especially for this volume, Derrida has written "Provocation: Forewords," which reflects on the title Without Alibi while taking up questions about relations between deconstruction and America. This essay-foreword also responds to the event of this book, which Peggy Kamuf in her introduction presents as event of resistance.

Without Alibi joins two other books by Derrida that Kamuf has translated for Stanford University Press: Points . . .: Interviews, 1974-1994 (1994) and Resistances of Psychoanalysis (1998).

A verbal articulation of the authors' visionary theory of how the human body, architecture, and creativity define and sustain one another 

This revolutionary work by artist-architects Arakawa and Madeline Gins demonstrates the inter-connectedness of innovative architectural design, the poetic process, and philosophical inquiry. Together, they have created an experimental and widely admired body of work, museum installations, landscape and park commissions, home and office designs, avant-garde films, poetry collections, that challenges traditional notions about the built environment. This book promotes a deliberate use of architecture and design in dealing with the blight of the human condition; it recommends that people seek architectural and aesthetic solutions to the dilemma of mortality.  

In 1997 the Guggenheim Museum presented an Arakawa/Gins retrospective and published a comprehensive volume of their work titled Reversible Destiny: We Have Decided Not to Die. Architectural Body continues the philosophical definition of that project and demands a fundamental rethinking of the terms "human" and "being." When organisms assume full responsibility for inventing themselves, where they live and how they live will merge. The artists believe that a thorough re-visioning of architecture will redefine life and its limitations and render death passe. The authors explain that "Another way to read reversible destiny... Is as an open challenge to our species to reinvent itself and to desist from foreclosing on any possibility."  

Audacious and liberating, this volume will be of interest to students and scholars of 20th-century poetry, postmodern critical theory, conceptual art and architecture, contemporary avant-garde poetics, and to serious readers interested in architecture's influence on imaginative expression. 

It's not capitalism, it's not neoliberalism - what if it's something worse?

In this radical and visionary new book, McKenzie Wark argues that information has empowered a new kind of ruling class. Through the ownership and control of information, this emergent class dominates not only labour but capital as traditionally understood as well. And it's not just tech companies like Amazon and Google. Even Walmart and Nike can now dominate the entire production chain through the ownership of not much more than brands, patents, copyrights, and logistical systems.

While techno-utopian apologists still celebrate these innovations as an improvement on capitalism, for workers, and the planet, it's worse. The new ruling class uses the powers of information to route around any obstacle labor and social movements put up. So how do we find a way out? Capital Is Dead offers not only the theoretical tools to analyze this new world, but ways to change it. Drawing on the writings of a surprising range of classic and contemporary theorists, Wark offers an illuminating overview of the contemporary condition and the emerging class forces that control, and contest it.

Although Charles Darwin's theory of evolution laid the foundations of modern biology, it did not tell the whole story. Most remarkably, The Origin of Species said very little about, of all things, the origins of species. Darwin and his modern successors have shown very convincingly how inherited variations are naturally selected, but they leave unanswered how variant organisms come to be in the first place.

In Symbiotic Planet, renowned scientist Lynn Margulis shows that symbiosis, which simply means members of different species living in physical contact with each other, is crucial to the origins of evolutionary novelty. Ranging from bacteria, the smallest kinds of life, to the largest, the living Earth itself, Margulis explains the symbiotic origins of many of evolution's most important innovations.

The very cells we're made of started as symbiotic unions of different kinds of bacteria. Sex, and its inevitable corollary, death, arose when failed attempts at cannibalism resulted in seasonally repeated mergers of some of our tiniest ancestors. Dry land became forested only after symbioses of algae and fungi evolved into plants. Since all living things are bathed by the same waters and atmosphere, all the inhabitants of Earth belong to a symbiotic union. Gaia, the finely tuned largest ecosystem of the Earth's surface, is just symbiosis as seen from space.

Along the way, Margulis describes her initiation into the world of science and the early steps in the present revolution in evolutionary biology; the importance of species classification for how we think about the living world; and the way academic apartheid can block scientific advancement. Written with enthusiasm and authority, this is a book that could change the way you view our living Earth.

The acclaimed first volume in feminist icon bell hooks' Love Song to the Nation, All About Love is a revelation about what causes a polarized society and how to heal the divisions that cause suffering. Here is the truth about love, and inspiration to help us instill caring, compassion, and strength in our homes, schools, and workplaces.

"The word 'love' is most often defined as a noun, yet we would all love better if we used it as a verb," writes bell hooks as she comes out fighting and on fire in All About Love. Here, at her most provocative and intensely personal, renowned scholar, cultural critic and feminist bell hooks offers a proactive new ethic for a society bereft with lovelessness—not the lack of romance, but the lack of care, compassion, and unity. People are divided, she declares, by society's failure to provide a model for learning to love.

As bell hooks uses her incisive mind to explore the question "What is love?" her answers strike at both the mind and heart. Razing the cultural paradigm that the ideal love is infused with sex and desire, she provides a new path to love that is sacred, redemptive, and healing for individuals and for a nation. The Utne Reader declared bell hooks one of the "100 Visionaries Who Can Change Your Life." All About Love is a powerful, timely affirmation of just how profoundly her revelations can change hearts and minds for the better.

In Hope Against Hope, the Out of the Woods collective investigates the critical relation between climate change and capitalism and calls for the expansion of our conceptual toolbox to organize within and against ecological crisis characterized by deepening inequality, rising far-right movements, and, relatedly, more frequent and devastating disasters. While much of environmentalist and leftist discourse in this political moment remain oriented toward horizons that repeat and renew racist, anti-migrant, nationalist, and capitalist assumptions, Out of the Woods charts a revolutionary course adequate to our times.

At the center of the renewed political orientation Hope Against Hope expounds is an abolitionist approach to border imperialism, reactionary ecology, and state violence that underpins many green solutions and modes of understanding nature. It reminds us of the frequent moments and movements of solidarity emerging in the ruins all around us. Their stunning conclusion to the disarray of politics in our seemingly end times is the urgency of creating what Out of the Woods calls "disaster communism", the collective power to transform our future political horizons from the ruins and establish a climate future based in common life.

Out of the Woods is a transnational political research and theory collective, a loose grouping of decolonial, small-c communist, antiracist queer-feminist thinkers working together to think through the problem of ecological crisis.

Racism and trauma are addressed as the author examines white supremacy in America from the perspective of body-centered psychology.

The body is where our instincts reside and where we fight, flee, or freeze, and it endures the trauma inflicted by the ills that plague society. Menakem argues this destruction will continue until Americans learn to heal the generational anguish of white supremacy, which is deeply embedded in all our bodies. Our collective agony doesn't just affect African Americans. White Americans suffer their own secondary trauma as well. So do blue Americans — our police.

This second issue revolves around the theme of migration, a crucial topic when addressing the forced displacement of LGBTQ+ people from contexts where “nature” is still used to criminalize consensual same-sex conduct or gender expression.

"We are honored to publish a new short essay by JASBIR K. PUAR that updates her work on homonationalism. In an interview with Indian activist ALOK HISARWALA GUPTA, we speak of how laws also cross borders, while legal researcher WARUGURU GAITHO and activist CARL COLLISON offer different approaches to report- ing on claims for asylum. FATIMA EL-TAYEB’s vibrant essay invites us to consider the meaning of a queer “we,” while iconic writer and filmmaker ABDELLAH TAÏA tackles everyday xenophobia in France. Poetry by GLORIA ANZALDÚA and DIVYA VICTOR offer personal reflections of homelessness and alienation, which resonate with the special visual contribution by artist ZOE LEONARD, whose photographs focus on the quotidian movements of crossing the river border between the US and Mexico. Historian ZEB TORTORICI addresses the notion of “against nature” through an engagement with the archive, while our Columns section brings news from Brazil, India, Kenya, Lebanon, Morocco, and the UK, in a season marked by the Covid-19 pandemic." — the editors

Mutual aid is the radical act of caring for each other while working to change the world. 

Around the globe, people are faced with a spiralling succession of crises, from the Covid-19 pandemic and climate change-induced fires, floods, and storms to the ongoing horrors of mass incarceration, racist policing, brutal immigration enforcement, endemic gender violence, and severe wealth inequality. As governments fail to respond to—or actively engineer—each crisis, ordinary people are finding bold and innovative ways to share resources and support the vulnerable.  

Survival work, when done alongside social movement demands for transformative change, is called mutual aid.  

This book is about mutual aid: why it is so important, what it looks like, and how to do it. It provides a grassroots theory of mutual aid, describes how mutual aid is a crucial part of powerful movements for social justice, and offers concrete tools for organizing, such as how to work in groups, how to foster a collective decision-making process, how to prevent and address conflict, and how to deal with burnout.  

Writing for those new to activism as well as those who have been in social movements for a long time, Dean Spade draws on years of organizing to offer a radical vision of community mobilization, social transformation, compassionate activism, and solidarity.

Black artists of the avant-garde have always defined the future.

Blackspace: On the Poetics of an Afrofuture is the culmination of six years of multidisciplinary research by trans poet and curator Anaïs Duplan about the aesthetic strategies used by experimental artists of color since the 1960s to pursue liberatory possibility. Through a series of lyric essays, interviews with contemporary artists and writers of color, and ekphrastic poetry, Duplan deconstructs how creative people frame their relationships to the word, "liberation." With a focus on creatives who use digital media and language-as-technology, luminaries like Actress, Juliana Huxtable, Lawrence Andrews, Tony Cokes, Sondra Perry, and Nathaniel Mackey, Duplan offers three lenses for thinking about liberation: the personal, the social, and the existential. Arguing that true freedom is impossible without considering all three, the book culminates with a personal essay meditating on the author's own journey of gender transition while writing the book.  

Anaïs Duplan is a trans* poet, curator, and artist. He is the founding curator for the Center for Afrofuturist Studies, an artist residency program for artists of color, based in Iowa City. He has worked as an adjunct poetry professor at the University of Iowa, Columbia University, Sarah Lawrence, and St. Joseph's College. He was a 2017-2019 joint Public Programs Fellow at the Museum of Modern Art and the Studio Museum in Harlem.

Published Oct 2020

As Angela Y. Davis has proposed, the "path to prison," which so disproportionately affects communities of color, is most acutely guided by the conditions of daily life. Architecture, then, as fundamental to shaping these conditions of civil existence, must be interrogated for its involvement along this diffuse and mobile path. Paths to Prison: On the Architectures of Carcerality aims to expand the ways the built environment's relationship to and participation in the carceral state is understood in architecture. The collected essays in this book implicate architecture in the more longstanding and pervasive legacies of racialized coercion in the United States—and follow the premise that to understand how the prison enacts its violence in the present one must shift the epistemological frame elsewhere: to places, discourses, and narratives assumed to be outside of the sphere of incarceration.  

Paths to Prison: On the Architectures of Carcerality offers not a fixed or inexorable account of how things are but rather a set of starting points and methodologies for reevaluating the architecture of carceral society and for undoing it altogether.  

With contributions by Adrienne Brown, Stephen Dillon, Jarrett M. Drake, Sable Elyse Smith, James Graham, Leslie Lodwick, Dylan Rodríguez, Anne Spice, Brett Story, Jasmine Syedullah, Mabel O. Wilson, and Wendy L. Wright.

Published September 2020

The More-than-Human reader brings together texts that reflect on the state of post-anthropocentric thinking today, by writers from a wide range of disciplines. Focusing on the ecologies and technologies of climate injustice and inequalities, as well as the destructive structures lurking within anthropocentrism, More-than-Human proposes complex entanglements, frictions, and reparative attention across species and beings.

Thinking past the centrality of the human subject, the texts that compose this reader begin to imagine networks of ethics and responsibility emerging not from the ideologies of old, but from the messy and complex liveliness around and beneath us. 

Rather than attempting to be a comprehensive compendium on the topic (which would be virtually impossible), More-than-Human provides a cross-section of the breadth and vitality of a literary, scientific, and conceptual milieu where multiple strands of work intersect even as they are frequently regarded as belonging to separate disciplinary discourses.

Contributors: Stacy Alaimo, Ramon Amaro, Karen Barad, Rosi Braidotti, Octavia Butler, Georges Canguilhem, Marisol de la Cadena, NASA History Department, Silvia Federici, Scott F. Gilbert, Édouard Glissant, Jack Halberstam, Donna Haraway, Myra J. Hird, Kristina Lyons, Patricia MacCormack, John T. Maher, Michael Marder, Timothy Mitchell, Reza Negarastani, Jussi Parikka, Elizabeth Povinelli, Paul B. Preciado, María Puig de la Bellacasa, Filipa Ramos, Isabelle Stengers, Elly R. Truitt, Anna L. Tsing, Eduardo Vivieros de Castro, Jason Wallin, Kathryn Yusoff and Joanna Zylinska.

Bezna is darkly glowing dead thinking, cosmic pessimism, hairy autonomy, inner reptilians, limbo sighs, horrendous pink volumes, underground nematodes, happy dismemberment, haunting prehumanism, compassion crises, glowing horror, sinister moods, aesthetic autophagia, postspectacle shelters, eternal stillness, future plague, decomposing knowledge, ouroboric moves, idiot nonknowing, shadow bodies, netherworld excavations, imperceptible evil, hyperbolic specters and news from Cioran.

Bezna's first issues were edited by Florin Flueras, Veda Popovici and Arnold Schlachter, the last ones by Florin Flueras, Irina Gheorghe and mainly by Alina Popa, in the memory of which this anthology is published.

'Bezna' in Romanian means consistent darkness + diffuse fear

Edited by: Alina Popa, Florin Flueras, Irina Gheorghe, Veda Popovici, Arnold Șlahter, Claudiu Cobilanschi

Contributions by Roi Alter, Aparat Security, Aulos, Brynjar Abel Bandlien, Emil Cioran, Ciumafaiu, ClaudiuCobilanschi, Octavian-LiviuDiaconeasa, Valentina Desideri, Bogdan Draganescu, Ion Dumitrescu, Florin Flueraş, Irina Gheorghe, Amy Ireland, Sarah Jones, Anastasia Jurescu, Kroot Juurak, Deanna Khamis, Mihai Lukacs, Nicola Masciandaro, G.A. Neagu, Dorothee Neumann, Cosima Opartan, Paradis Garaj, Alina Popa, Veda Popovici, Arnold Slahter, Taulipang Indians of Guyana, The Bureau of Melodramatic Research, The Presidential Candidate, Eugene Thacker, Stefan Tiron, Dylan Trigg, Tea Tupajic, Akseli Virtanen, Ben Woodard.

This book combines loosely "autobiographical" texts by two of the most influential French intellectuals of our time. "Savoir," by Hélène Cixous is an account of her experience of recovered sight after a lifetime of severe myopia; Jacques Derrida's "A Silkworm of One's Own" muses on a host of motifs, including his varied responses to "Savoir."

Hélène Cixous is Professor of Literature and Director of the Centre d'Etudes Feminines, Paris VIII. Jacques Derrida is Director of Studies at the Ecole des Hautes Etudes en Sciences Sociales, Paris, and Professor of Humanities at the University of California, Irvine. Stanford has published nine of his books, most recently Of Hospitality, which also includes a text by Anne Dufourmantelle (Stanford, 20

A collection of transcripts from Mark Fisher’s final series of lectures at Goldsmiths, University of London, in late 2016.

Edited and with an introduction by Matt Colquhoun, this collection of lecture notes and transcriptions reveals acclaimed writer and blogger Mark Fisher in his element — the classroom — outlining a project that Fisher’s death left so bittersweetly unfinished.

Beginning with that most fundamental of questions — “Do we really want what we say we want?” — Fisher explores the relationship between desire and capitalism, and wonders what new forms of desire we might still excavate from the past, present, and future. From the emergence and failure of the counterculture in the 1970s to the continued development of his left-accelerationist line of thinking, this volume charts a tragically interrupted course for thinking about the raising of a new kind of consciousness, and the cultural and political implications of doing so.

For Fisher, this process of consciousness raising was always, fundamentally, psychedelic — just not in the way that we might think…

Edited by Matt Colquhoun
Published 2021

Electrifying, provocative, and controversial when first published thirty years ago, Donna Haraway's "Cyborg Manifesto" is even more relevant today, when the divisions that she so eloquently challenges—of human and machine but also of gender, class, race, ethnicity, sexuality, and location—are increasingly complex. The subsequent "Companion Species Manifesto," which further questions the human-nonhuman disjunction, is no less urgently needed in our time of environmental crisis and profound polarization.

Manifestly Haraway brings together these momentous manifestos to expose the continuity and ramifying force of Haraway's thought, whose significance emerges with engaging immediacy in a sustained conversation between the author and her long-term friend and colleague Cary Wolfe. Reading cyborgs and companion species through and with each other, Haraway and Wolfe join in a wide-ranging exchange on the history and meaning of the manifestos in the context of biopolitics, feminism, Marxism, human-nonhuman relationships, making kin, literary tropes, material semiotics, the negative way of knowing, secular Catholicism, and more.

The conversation ends by revealing the early stages of Haraway's "Chthulucene Manifesto," in tension with the teleologies of the doleful Anthropocene and the exterminationist Capitalocene. Deeply dedicated to a diverse and robust earthly flourishing, Manifestly Haraway promises to reignite needed discussion in and out of the academy about biologies, technologies, histories, and still possible futures.

Donna J. Haraway is distinguished professor emerita in the History of Consciousness Department at the University of California, Santa Cruz, where she is also affiliated with the departments of anthropology, feminist studies, environmental studies, and film and digital media. She is an active participant in UCSC's Science and Justice Research Center and the Center for Cultural Studies.

Published 2016

Queer Ancient Ways advocates a profound unlearning of colonial/modern categories as a pathway to the discovery of new forms and theories of queerness in the most ancient of sources. In this radically unconventional work, Zairong Xiang investigates scholarly receptions of mythological figures in Babylonian and Nahua creation myths, exposing the ways they have consistently been gendered as feminine in a manner that is not supported, and in some cases actively discouraged, by the texts themselves.

An exercise in decolonial learning-to-learn from non-Western and non-modern cosmologies, Xiang's work uncovers a rich queer imaginary that had been all-but-lost to modern thought, in the process critically revealing the operations of modern/colonial systems of gender/sexuality and knowledge-formation that have functioned, from the Conquista de America in the sixteenth century to the present, to keep these systems in obscurity.

At the heart of Xiang's argument is an account of the way the unfounded feminization of figures such as the Babylonian (co)creatrix Tiamat, and the Nahua creator-figures Tlaltecuhtli and Coatlicue, is complicit with their monstrification. This complicity tells us less about the mythologies themselves than about the dualistic system of gender and sexuality within which they have been studied, underpinned by a consistent tendency in modern/colonial thought to insist on unbridgeable categorical differences.

By contextualizing these deities in their respective mythological, linguistic, and cultural environments, through a unique combination of methodologies and critical traditions in English, Spanish, French, Chinese, and Nahuatl, Xiang departs from the over-reliance of much contemporary queer theory on European (post)modern thought. Much more than a queering of the non-Western and non-modern, Queer Ancient Ways thus constitutes a decolonial and transdisciplinary engagement with ancient cosmologies and ways of thought which are in the process themselves revealed as theoretical sources of and for the queer imagination.

In this small theoretical novella-cum-dictionary entry, Lauren Berlant engages love and desire in separate entries. In the first entry, Desire mainly describes the feeling one person has for something else: it is organized by psychoanalytic accounts of attachment, and tells briefly the history of their importance in critical theory and practice. The second entry, on Love, begins with an excursion into fantasy, moving away from the parent-child structure so central to psychoanalysis and looking instead at the centrality of context, environment, and history. The entry on Love describes some workings of romance across personal life and commodity culture, the place where subjects start to think about fantasy on behalf of their actual lives.

Whether viewed psychoanalytically, institutionally, or ideologically, love is deemed always an outcome of fantasy. Without fantasy, there would be no love. Desire/Love takes us on a tour of all of the things that sentence might mean.

A phenomenology of voice and hearing.

Contemplative, intricate, here the philosopher Vivian Darroch-Lozowski develops a phenomenology of hearing. Where theorizing is a present-tense action. Where a landscape teaches waiting. Where to be in a body is to gesture to another. Where subjectivity is the transformation of language. Where attention releases nascent energy. Where to hear is also to transform. Where myth is a gate. A close attending to this text, which is also a unicorn, will delicately open the reader's time-sense. —Lisa Robertson, author of Cinema of the Present, The Weather, Nilling, and The Baudelaire Fractal.

Vivian Darroch-Lozowski is Professor Emerita of the University of Toronto. Her writings and visual works cover different genres: scholarly, literary, creative non-fiction, artist books, painting/drawing and film. Her books include Notebook of Stone, Antarctica Body, Blue Cloud, Surface of the Living World, and The Uncoded World. Her recent project was returning 160 acres of agricultural land to natural prairie with wetlands. She lives in Moose Jaw, Treaty 4 Territory, Saskatchewan (Canada).

Published Nov 2020

Italian edition

Cosa succede quando il genere umano, dopo aver irrimediabilmente alterato gli equilibri del pianeta Terra, smette di essere il centro del mondo? E nel pieno della crisi ecologica, che relazioni è possibile recuperare non solo tra individui umani, ma tra tutte le specie che il pianeta lo abitano? In questo testo denso ed emozionante, scritto in una lingua immaginifica che si ispira tanto alla fantascienza quanto alla grande lezione del femminismo radicale, Donna Haraway ci ricorda che tutto è interconnesso, tutto è contaminato, tutto ci riguarda. Contro i semplicismi delle discussioni sull’antropocene, Chthulucene immortala la centralità di Donna Haraway tra i più importanti e originali pensatori del nostro tempo.

In Postcolonial Melancholia, Paul Gilroy continues the conversation he began in his landmark study of race and nation, 'There Ain't No Black in the Union Jack, ' by once again departing from conventional wisdom to examine-and defend-multiculturalism within the context of a post-9/11 "politics of security."

Gilroy adapts the concept of melancholia from its Freudian origins and applies it to the social pathology of neoimperialist politics. His unorthodox analysis pinpoints melancholic reactions not only in the hostility and violence directed at blacks, immigrants, and aliens but also in an inability to value the ordinary, unruly multiculture that has evolved organically and unnoticed in urban centers.

Drawing on seminal discussions of race by Frantz Fanon, W. E. B. DuBois, and George Orwell, Gilroy goes beyond the idea of mere tolerance and proposes that it is possible to celebrate multiculture and live with otherness without becoming anxious, fearful, or violent.

The world is witnessing a new surge of interpersonal and institutional violence against women, including new witch hunts. This surge of violence has occurred alongside an expansion of capitalist social relation. In this new work, Silvia Federici examines the root causes of these developments and outlines the consequences for the women affected and their communities. She argues, that this new war on women, a mirror of witch hunts in 16th- and 17th-century Europe and the "New World," is a structural element of the new forms of capitalist accumulation. These processes are founded on the destruction of people's most basic means of reproduction. Like at the dawn of capitalism, the factors behind today's violence against women are processes of enclosure, land dispossession, and the remolding of women's reproductive activities and subjectivity.

Silvia Federici is a feminist writer, teacher, and militant. In 1972 she was co-founder of the International Feminist Collective that launched the campaign for Wages for Housework internationally. Her previous books include Caliban and the Witch and Revolution at Point Zero. She is a professor emerita at Hofstra University, where she was a social science professor.