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In Fictions of Land and Flesh Mark Rifkin explores the impasses that arise in seeking to connect Black and Indigenous movements, turning to speculative fiction to understand those difficulties and envision productive ways of addressing them. Against efforts to subsume varied forms of resistance into a single framework in the name of solidarity, Rifkin argues that Black and Indigenous political struggles are oriented in distinct ways, following their own lines of development and contestation. Rifkin suggests how movement between the two can be approached as something of a speculative leap in which the terms and dynamics of one are disoriented in the encounter with the other. Futurist fiction provides a compelling site for exploring such disjunctions. Through analyses of works by Octavia Butler, Walter Mosley, Nalo Hopkinson, Melissa Tantaquidgeon Zobel, and others, the book illustrates how ideas about fungibility, fugitivity, carcerality, marronage, sovereignty, placemaking, and governance shape the ways Black and Indigenous intellectuals narrate the past, present, and future. In turning to speculative fiction, Rifkin illustrates how speculation as a process provides conceptual and ethical resources for recognizing difference while engaging across it.
Faint traces of Indigenous people and their histories abound in American media, memory, and myths. Indigeneity often remains absent or invisible, however, especially in contemporary political and intellectual discourse about white supremacy, anti-Blackness, and racism in general. In this ambitious new book, Kevin Bruyneel confronts the chronic displacement of Indigeneity in the politics and discourse around race in American political theory and culture, arguing that the ongoing influence of settler-colonialism has undermined efforts to understand Indigenous politics while also hindering conversation around race itself. By reexamining major episodes, texts, writers, and memories of the political past from the seventeenth century to the present, Bruyneel reveals the power of settler memory at work in the persistent disavowal of Indigeneity. He also shows how Indigenous and Black intellectuals have understood ties between racism and white settler memory, even as the settler dimensions of whiteness are frequently erased in our discourse about race, whether in conflicts over Indian mascotry or the white nationalist underpinnings of Trumpism. Envisioning a new political future, Bruyneel challenges readers to refuse settler memory and consider a third reconstruction that can meaningfully link antiracism and anticolonialism.
In Speaking for the People Mark Rifkin examines nineteenth-century Native writings to reframe contemporary debates around Indigenous recognition, refusal, and resurgence. Rifkin shows how works by Native authors (William Apess, Elias Boudinot, Sarah Winnemucca, and Zitkala-Ša) illustrate the intellectual labor involved in representing modes of Indigenous political identity and placemaking. These writers highlight the complex processes involved in negotiating the character, contours, and scope of Indigenous sovereignties under ongoing colonial occupation. Rifkin argues that attending to these writers' engagements with non-native publics helps provide further analytical tools for addressing the complexities of Indigenous governance on the ground—both then and now. Thinking about Native peoplehood and politics as a matter of form opens possibilities for addressing the difficult work involved in navigating among varied possibilities for conceptualizing and enacting peoplehood in the context of continuing settler intervention. As Rifkin demonstrates, attending to writings by these Indigenous intellectuals provides ways of understanding Native governance as a matter of deliberation, discussion, and debate, emphasizing the open-ended unfinishedness of self-determination.
In The Black Shoals Tiffany Lethabo King uses the shoal—an offshore geologic formation that is neither land nor sea—as metaphor, mode of critique, and methodology to theorize the encounter between Black studies and Native studies. King conceptualizes the shoal as a space where Black and Native literary traditions, politics, theory, critique, and art meet in productive, shifting, and contentious ways. These interactions, which often foreground Black and Native discourses of conquest and critiques of humanism, offer alternative insights into understanding how slavery, anti-Blackness, and Indigenous genocide structure white supremacy. Among texts and topics, King examines eighteenth-century British mappings of humanness, Nativeness, and Blackness; Black feminist depictions of Black and Native erotics; Black fungibility as a critique of discourses of labor exploitation; and Black art that rewrites conceptions of the human. In outlining the convergences and disjunctions between Black and Native thought and aesthetics, King identifies the potential to create new epistemologies, lines of critical inquiry, and creative practices.
In interconnected and mutually enfolding texts protagonists face off with some deformation of being: psychological, sexual, political, philosophical. Plots play out across the body, as if formed, deformed, reformed by culture. Drugs, violence, and sex inscribe the literal flesh of "figures" standing in for what formerly passed for character. In these fictions a woman is more likely to appear with a needle in her arm than a baby. Sometimes a woman cannot be distinguished from a man at all. Cutting from subject to object, severing the eye/I from skin, these fictions bring America back to its body. In Liberty's Excess, capitalism and individualism lose their cover stories, releasing desire all over culture's deadening hum. Yuknavitch is both master and mistress of this dis-formed beauty, creating a landscape neither Waste Land nor Kansas nor Pomo Glitter.
Throughout the nineteenth and twentieth centuries, teachers, administrators, and policymakers fashioned a system of industrial education that attempted to transform Black and Indigenous peoples and land. This form of teaching—what Bayley J. Marquez names plantation pedagogy—was built on the claim that slavery and land dispossession are fundamentally educational. Plantation pedagogy and the formal institutions that encompassed it were thus integrally tied to enslavement, settlement, and their inherent violence toward land and people. Marquez investigates how proponents developed industrial education domestically and then spread the model abroad as part of US imperialism. A deeply thoughtful and arresting work, Plantation Pedagogy sits where Black and Native studies meet in order to understand our interconnected histories and theorize our collective futures.
See the world through the eyes of a search engine, if only for a millisecond; throw the workings of power into sharper relief by any media necessary; reveal access points to other worlds within our own. In the anthology Fiction as Method, a mixture of new and established names in the fields of contemporary art, media theory, philosophy, and speculative fiction explore the diverse ways fiction manifests, and provide insights into subjects ranging from the hive mind of the art collective 0rphan Drift to the protocols of online self-presentation. With an extended introduction by the editors, the book invites reflection on how fictions proliferate, take on flesh, and are carried by a wide variety of mediums—including, but not limited to, the written word. In each case, fiction is bound up with the production and modulation of desire, the enfolding of matter and meaning, and the blending of practices that cast the existing world in a new light with those that participate in the creation of new openings of the possible. Contributors Justin Barton, Delphi Carstens & Mer Roberts, Tim Etchells, Matthew Fuller, David Garcia, Dora García, M. John Harrison, Simon O'Sullivan, Erica Scourti, Jon K Shaw and Theo Reeves-Evison
A newly-wed couple escape a busy confusion of their homeland for a distant and almost uninhabited lakeshore. They plan to lead a simple life there, fishing the lake, trapping the nearby woods and building a house upon the dirt between where they can raise a family. But as their every pregnancy fails, the child-obsessed husband begins to rage at this new world: the song-spun objects somehow created by his wife's beautiful singing voice, the giant and sentient bear that rules the beasts of the woods... A powerful exploration of the limits of parenthood and marriage.
How to use design as a tool to create not only things but ideas, to speculate about possible futures. Today designers often focus on making technology easy to use, sexy, and consumable. In Speculative Everything, Anthony Dunne and Fiona Raby propose a kind of design that is used as a tool to create not only things but ideas. For them, design is a means of speculating about how things could be—to imagine possible futures. This is not the usual sort of predicting or forecasting, spotting trends and extrapolating; these kinds of predictions have been proven wrong, again and again. Instead, Dunne and Raby pose “what if” questions that are intended to open debate and discussion about the kind of future people want (and do not want). Speculative Everything offers a tour through an emerging cultural landscape of design ideas, ideals, and approaches. Dunne and Raby cite examples from their own design and teaching and from other projects from fine art, design, architecture, cinema, and photography. They also draw on futurology, political theory, the philosophy of technology, and literary fiction. They show us, for example, ideas for a solar kitchen restaurant; a flypaper robotic clock; a menstruation machine; a cloud-seeding truck; a phantom-limb sensation recorder; and devices for food foraging that use the tools of synthetic biology. Dunne and Raby contend that if we speculate more—about everything—reality will become more malleable. The ideas freed by speculative design increase the odds of achieving desirable futures.
The contributors to Otherwise Worlds investigate the complex relationships between settler colonialism and anti-Blackness to explore the political possibilities that emerge from such inquiries. Pointing out that presumptions of solidarity, antagonism, or incommensurability between Black and Native communities are insufficient to understand the relationships between the groups, the volume's scholars, artists, and activists look to articulate new modes of living and organizing in the service of creating new futures. Among other topics, they examine the ontological status of Blackness and Indigeneity, possible forms of relationality between Black and Native communities, perspectives on Black and Indigenous sociality, and freeing the flesh from the constraints of violence and settler colonialism. Throughout the volume's essays, art, and interviews, the contributors carefully attend to alternative kinds of relationships between Black and Native communities that can lead toward liberation. In so doing, they critically point to the importance of Black and Indigenous conversations for formulating otherwise worlds. Contributors Maile Arvin, Marcus Briggs-Cloud, J. Kameron Carter, Ashon Crawley, Denise Ferreira da Silva, Chris Finley, Hotvlkuce Harjo, Sandra Harvey, Chad B. Infante, Tiffany Lethabo King, Jenell Navarro, Lindsay Nixon, Kimberly Robertson, Jared Sexton, Andrea Smith, Cedric Sunray, Se’mana Thompson, Frank B. Wilderson