By Jasbir K.Puar, Zillah Eisenstein, Rosalind C.Morris, Judith Butler, Muneer Ahmad, Meena Alexander, Lopamudra Basu, Sandrine Nicoletta, Yigal Nizri, Ban Wang
Considering that September eleven, public discourse has usually been framed by way of absolutes: an age of innocence provides strategy to a gift below siege, whereas the us and its allies face off opposed to the Axis of Evil. This specific factor of Social textual content goals to maneuver past those binaries towards considerate research. The editors argue that the problem for the Left is to improve an antiterrorism stance that recognizes the legacy of U.S. alternate and overseas coverage in addition to the range of the Muslim religion and the risks offered by means of fundamentalism of all kinds.Examining the strengths and shortcomings of zone, race, and gender reviews within the look for figuring out, this factor considers cross-cultural feminism as a way of struggling with terrorism; racial profiling of Muslims within the context of different racist logics; and the homogenization of dissent. the difficulty comprises poetry, photographic paintings, and an editorial via Judith Butler at the discursive house surrounding the assaults of September eleven. This awesome diversity of contributions questions the which means and implications of the occasions of September eleven and their aftermath.Contributors. Muneer Ahmad, Meena Alexander, Lopamudra Basu, Judith Butler, Zillah Eisenstein, Stefano Harney, Randy Martin, Rosalind C. Morris, Fred Moten, Sandrine Nicoletta, Yigal Nizri, Jasbir ok. Puar, Amit S. Rai, Ella Shohat, Ban Wang
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Additional info for 911: A Public Emergency (Social Text 72)
See, there’s Kant by a stairwell in an inner room. He paces, thought tormented, then stoops to listen hard. Petals splatter from the plum branch by the river, also fragments of a cheekbone, a earlobe dangling a pearl. A hot, discordant music wells up from earth’s core. IV After the glyphs cut in granite, after the broken sky, we returned to the hotel by the river Umealv. I drew back curtains and stared at black water. A house was afloat on that river, bright the moon, and in the bright house a child, her face covered with a hat of wool so red, darkness fled from it.
Is it useful now? MA: In what I write, fault lines, cracks appear in the givenness of things, of languages, streets, marketplaces. It’s a world filled with migrants. And yes, suddenly that does seem closer, I think, for some people. Though for me it is just the way things are, multiple places, fluid selves. So many languages filled my head when I was a child: Malayalam, Hindi, English, French, Arabic. Now those borders are pressing in at the brink of this new century, in a time of war. LB: Memory is a very important theme in your work.
So many languages filled my head when I was a child: Malayalam, Hindi, English, French, Arabic. Now those borders are pressing in at the brink of this new century, in a time of war. LB: Memory is a very important theme in your work. How does the lyric poem work with memory? MA: The lyric poem is so tiny. It can be folded onto a bit of paper, put into a notebook, written on the backs of matchboxes. There is something about the portability of the lyric in a time of danger. For me, the lyric becomes the form par excellence in a time of crisis because it can be carried in memory.
911: A Public Emergency (Social Text 72) by Jasbir K.Puar, Zillah Eisenstein, Rosalind C.Morris, Judith Butler, Muneer Ahmad, Meena Alexander, Lopamudra Basu, Sandrine Nicoletta, Yigal Nizri, Ban Wang