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Contemporary Capitalism, Crisis, and the Politics of Fiction: Literature Beyond Fordism proposes a fresh approach to contemporary fictional engagements with the idea of crisis in capitalism and its various social and economic manifestations. The book investigates how late-twentieth and twenty-first-century Anglophone fiction has imagined, interpreted, and in most cases resisted, the collapse of the socio-economic structures built after the Second World War and their replacement with a presumably immaterial order of finance-led economic development. Through a series of detailed readings of the words of authors Martin Amis, Hari Kunzru, Don DeLillo, Zia Haider Rahman, John Lanchester, Paul Murray and Zadie Smith among others, this study sheds light on the embattled and decidedly unstable nature of contemporary capitalism.
The Fictions of American Capitalism: Working Fictions and the Economic Novel introduces a new way of thinking about fiction in connection with capitalism, especially American capitalism. These essays demonstrate how fiction fulfills a major function of the American capitalist engine, presenting various formulations of American capitalism from the perspective of economists, social scientists, and literary critics. Focusing on three narratives—fictitious capital, working fictions, and the economic novel—the volume questions whether these three types of fiction can be linked under the sign of capitalism. This collection seeks to illustrate the American economy’s dependence on fictitiousness, America’s ideological fictions, and the nation’s creative literary fiction. In relation to what the credit and banking crisis of 2007–2008 exposed about the “unreal” base of the economy, the volume concludes with a call to recognize the economic humanities, arguing that American fiction and American literary studies can provide a useful mirror for economists.
This book explores the role of radical ideas in contemporary fiction by nine critically acclaimed authors--Jonathan Lethem, Dana Spiotta, China Mieville, Thomas Pynchon, Rachel Kushner, Teddy Wayne, Colson Whitehead, Jacqueline Woodson, and Kim Stanley Robinson. All of them share interests in the politics of the left, the problems of protracted economic crisis, and the potentiality of post-capitalist ideas. Novels by these authors, this book argues, are defined by an imperative to confront current anxieties in left-thought, while, at the same time, evincing a nuanced degree of self-consciousness about the legacy of political radicalisms, the costs they accrue, and where they have led.
Analyzes six films as allegories of capitalism’s precarious state in the early twenty-first century. At the beginning of the twenty-first century, as the contradictions of capitalism became more apparent than at any other time since the 1920s, numerous films gave allegorical form to the crises of contemporary capitalism. Some films were overtly political in nature, while others refracted the vicissitudes of capital in stories that were not, on the surface, explicitly political. Rumble and Crash examines six particularly rich and thought-provoking films in this vein. These films, Milo Sweedler argues, give narrative and audiovisual form to the increasingly pervasive sense that the economic system we have known and accepted as inevitable and ubiquitous is in fact riddled with self-destructive flaws. Analyzing four movies from before the global financial crisis of 2008 and two that allegorize the financial meltdown itself, Sweedler explores how cinema responded to one of the defining crises of our time. Films examined include Alfonso Cuarón’s Children of Men (2006), Stephen Gaghan’s Syriana(2005), Fernando Meirelles’s The Constant Gardener (2005), Spike Lee’s Inside Man (2006), Martin Scorsese’s The Wolf of Wall Street (2013), and Woody Allen’s Blue Jasmine (2013). “Milo Sweedler has produced what are surely the most original, provocative, and downright dazzling readings of a handful of socially significant and potent films released during the tumultuous years from 2005 to 2013. This is a fine book.” — David Desser, former editor, Cinema Journal
This book examines how contemporary global novels by Salman Rushdie, David Mitchell, Rana Dasgupta and Rachel Kushner have evolved new aesthetics to represent global economic and ecological crises. Paying close attention to the interrelations between postcolonial, world, and global literatures, this book argues that postcolonial literary studies cannot account for global crises that exceed the national and anti-colonial. Advocating an interdisciplinary framework informed by a synthesis of materialist literary theory with world-systems theory, combining Fredric Jameson and Georg Lukács with Giovanni Arrighi and Jason W. Moore, this book examines how global literatures metabolise not only socioeconomic conditions, but also transformations in the world-ecology, and emergent developmental and epochal crises of capitalism.
Recent years have seen a burgeoning of novels that respond to the environmental issues we currently face. Among these, Louise Squire defines environmental crisis fiction as concerned with a range of environmental issues and with the human subject as a catalyst for these issues. She argues that this fiction is characterized by a thematic use of "death," through which it explores a "crisis" of both environment and self. Squire refers to this emergent thematic device as "death-facing ecology". This device enables this fiction to engage with a range of theoretical ideas and with popular notions of death and the human condition as cultural phenomena of the modern West. In doing so, this fiction invites its readers to consider how humanity might begin to respond to the crisis.
The 2008 global crisis, unemployment, lack of retirement funds, bank bailouts... today, the "economy" is on everyone's mind. But what makes this rather opaque concept work? This collection of essays seeks out the answer by exploring contemporary capitalism from a variety of theoretical perspectives and by confronting the economy as a cultural system, a theory, and a driving force of every day life in the West. The first part of the book discusses past and present representation of capitalism (from Hegel and Marx to Negri and Florida) along with their continuing impact. The second part focuses on capitalism as a locus of power and resistance, and maps possible responses to the current situation. The roles of metaphor and discourse is examined throughout to rethink the implications of power in the context of globalization and consumer culture. Each chapter features an abstract, study questions, as well as further reading suggestions, which, along with its accessible theoretical coverage, will make the book an essential study tool for students in social and political thought, globalization, and social theory.
What would a fair and equal society actually look like? The world-renowned economist and bestselling author Yanis Varoufakis presents his radical and subversive answer in a work of speculative fiction that recalls William Morris and William Gibson The year: 2035. At a funeral for Iris, a revolutionary leftist feminist, Yango is approached by Costa, Iris’s closest comrade, who urges him to carry out Iris’s last wish: plough into her secret diaries to tell their story. “But”, Costa insists “leave out anything that might help Big Tech replicate my technologies!” That night Yango delves into Iris’s diaries. In them he discovers a chronicle of how Costa’s revolutionary technologies had unveiled an actually existing, fully democratized, postcapitalist society. Suddenly he understands Costa’s obsession with the hackers trying to steal his secrets. So begins Yanis Varoufakis’s extraordinary novelistic thought-experiment, where the world-famous economist offers an invigorating and deeply moving vision of an alternative reality. Another Now tells the story of Costa, a brilliant but deeply disillusioned, computer engineer, who creates a revolutionary technology that will allow the user a “glimpse of a life beyond their dreams” but will not enslave them. But an accident during one of its trial runs unveils a cosmic wormhole where Costa meets his DNA double, who is living in a 2025 very different than the one Costa is living in. In this parallel 2025 a global hi-tech uprising, begun in the wake of the collapse of 2008, has birthed a post-capitalist world in which work, money, land, digital networks and politics have been truly democratized. Banks have been eliminated, as well as predatory, data-mining digital monopolies; the gig economy is no more; and the young are free to experiment with different careers and to study ”non-lucrative topics, from Sumerian pottery to astrophysics.” Intoxicated, Costa travels to England to tell Iris, his old comrade, and her neighbor, Eva, a recovering banker turned neoliberal economics professor, of the parallel universe he has discovered. Costa eventually leads them back to his workshop in America where Iris and Eva meet their own doubles, and confront hard truths about themselves and the daunting political challenge that "the Other Now" presents. But, as their obsession with the Other Now deepens, time begins to run out, as the wormhole begins to deteriorate and hackers begin to unleash new attacks on Costa’s technology. The trio have to make a choice: which 2025 do they want to live in? Varoufakis has been claiming for a while that we already live in postcapitalist times. That, since the 2008 crisis, capitalism has been morphing into technofeudalism. Another Now, a riveting work of speculative fiction, shows that there is a realistic, democratic alternative to the technofeudalpostcapitalist dystopia taking shape all around us. It also confronts us with the greatest question: how far are we willing to go to bring it about?
More than ever, “the body” is today at the center of radical and institutional politics. Feminist, antiracist, trans, ecological movements—all look at the body in its manifold manifestations as a ground of confrontation with the state and a vehicle for transformative social practices. Concurrently, the body has become a signifier for the reproduction crisis the neoliberal turn in capitalist development has generated and for the international surge in institutional repression and public violence. In Beyond the Periphery of the Skin, lifelong activist and best-selling author Silvia Federici examines these complex processes, placing them in the context of the history of the capitalist transformation of the body into a work-machine, expanding on one of the main subjects of her first book, Caliban and the Witch. Building on three groundbreaking lectures that she delivered in San Francisco in 2015, Federici surveys the new paradigms that today govern how the body is conceived in the collective radical imagination, as well as the new disciplinary regimes state and capital are deploying in response to mounting revolt against the daily attacks on our everyday reproduction. In this process she confronts some of the most important questions for contemporary radical political projects. What does “the body” mean, today, as a category of social/political action? What are the processes by which it is constituted? How do we dismantle the tools by which our bodies have been “enclosed” and collectively reclaim our capacity to govern them?
As the world has been reshaped since the 1970s by economic globalization, neoliberalism, and financialization, writers and artists have addressed the problem of representing the economy with a new sense of political urgency. Anxieties over who controls capitalism have thus been translated into demands upon literature, art, and mass media to develop strategies of representation that can account for capitalism’s power. Reading Capitalist Realism presents some of the latest and most sophisticated approaches to the question of the relation between capitalism and narrative form, partly by questioning how the “realism” of austerity, privatization, and wealth protection relate to the realism of narrative and cultural production. Even as critics have sought to locate a new aesthetic mode that might consider and move beyond theorizations of the postmodern, this volume contends that narrative realism demands renewed scrutiny for its ability to represent capitalism’s latest scenes of enclosure and indebtedness. Ranging across fiction, nonfiction, television, and film, the essays collected here explore to what extent realism is equipped to comprehend and historicize our contemporary economic moment and what might be the influence or complicity of the literary in shaping the global politics of lowered expectations. Including essays on writers such as Mohsin Hamid, Lorrie Moore, Jess Walter, J. M. Coetzee, James Kelman, Ali Smith, Russell Banks, William Vollmann, and William Gibson, as well as examinations of Hollywood film productions and The Wire television series, Reading Capitalist Realism calls attention to a resurgence of realisms across narrative genres and questions realism’s ability to interrogate the crisis-driven logic of political and economic “common sense.”