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Shocked by 9/11, the Great Recession, digital anxiety, and ecological collapse, the West suffers from nostalgia. People everywhere yearn for a utopian version of the past that never existed. Desperate for relief, many long to escape from the present. Some will stop at nothing to achieve it. In his essential new book, Grafton Tanner, author of Babbling Corpse: Vaporwave and the Commodification of Ghosts, argues that our nostalgia today is partly a consequence of the attention economy. At a time when historical literacy is crucial, and old prejudices are percolating into the present, Big Tech’s predictive algorithms are locking us into nostalgic feedback loops. The result is a precarious society with its gaze fixed on the good old days. Spanning from the ancient Sophists to Black Mirror, The Circle of the Snake is at once a reckoning with the myth of digital utopia and an incisive analysis of nostalgia as a weapon to spread fascism.
In the midst of the cold, wicked, and windy streets of Chicago, Deontay Miller and his right hand man, Chris, start out as petty hustlers in Cabrini Green housing projects one of the most notorious projects in America. (Home of TV’s own: Good Times, Cooly High, and Candy man just to name a few...). But once Doughboy, Chris cousin, turns them on to the drug game they apprehensively make the transition from stealing and selling bikes, to copping weight and distributing it in hand to hand transactions. Two years after being introduced to “The game” Deontay is now checking just as much bread as some of the older heads. But unfortunately for Deontay in the depts of the slums getting a little money often tends to make you a target, and Deontay is no exception. After refusing to be extorted by letting Black, the neighborhood bully “Hold something” a mere altercation escalades to Black making an attempt to Deontay’s life later on that night. But luckily Deontay escapes the hail of gun fire unscaved... The next day in broad daylight, Deontay murders Black in cold blood. This bold barbaric act captured the respect of his peers, causing Deontay’s name to ring throughout the streets.
In the age of global capitalism, vaporwave celebrates and undermines the electronic ghosts haunting the nostalgia industry. Ours is a time of ghosts in machines, killing meaning and exposing the gaps inherent in the electronic media that pervade our lives. Vaporwave is an infant musical micro-genre that foregrounds the horror of electronic media's ability to appear - as media theorist Jeffrey Sconce terms it - "haunted." Experimental musicians such as INTERNET CLUB and MACINTOSH PLUS manipulate Muzak and commercial music to undermine the commodification of nostalgia in the age of global capitalism while accentuating the uncanny properties of electronic music production. Babbling Corpse reveals vaporwave's many intersections with politics, media theory, and our present fascination with uncanny, co(s)mic horror. The book is aimed at those interested in global capitalism's effect on art, musical raids on mainstream "indie" and popular music, and anyone intrigued by the changing relationship between art and commerce.
"What is the spell for?" Miranda asked curiously, stepping close beside him to squeeze through the first ring of trees. She didn't know of any goblin spells that used flowers unless they were crushed like herbs. "Do you really want to know?" murmured the elf absently, looking up at the dark crowns of the ancient oaks. "Yes," she said. She had always liked magic. He glanced back down at her then. "It's for you," he said. And the instant they passed the great trunks, his hand closed over her wrist. The powerful final volume of the Hollow Kingdom Trilogy Miranda has waited her whole life to come home to the goblin kingdom, but she never imagined she'd feel so alone there. Her beloved Marak, the center of her world since childhood, has reached the end of his reign. But Marak didn't raise a coward. Miranda needs all her courage when a mysterious elf lord takes her prisoner, reigniting an age-old battle. Caught between two hostile races, she becomes their greatest reason for war—and their only hope for a future. In this final volume of the Hollow Kingdom Trilogy, Clare B. Dunkle draws readers deep into her magical realm for one last incredible story.
Nina is a Lipan girl in our world. She's always felt there was something more out there. She still believes in the old stories. Oli is a cottonmouth kid, from the land of spirits and monsters. Like all cottonmouths, he's been cast from home. He's found a new one on the banks of the bottomless lake. Nina and Oli have no idea the other exists. But a catastrophic event on Earth, and a strange sickness that befalls Oli's best friend, will drive their worlds together in ways they haven't been in centuries. And there are some who will kill to keep them apart. Darcie Little Badger introduced herself to the world with Elatsoe. In A Snake Falls to Earth, she draws on traditional Lipan Apache storytelling structure to weave another unforgettable tale of monsters, magic, and family. It is not to be missed.
When little Seth the snake is born he cannot bear the noises that all the jungle animals make, and when his mother urges him to speak, the only thing he wants to say is "Shhh."
SNAKE CIRCLE is the final book of Roberta Sykes' SNAKE DREAMING trilogy.
In Aboriginal and Māori literature, the circle and the spiral are the symbolic metaphors for a never-ending journey of discovery and rediscovery. The journey itself, with its indigenous perspectives and sense of orientation, is the most significant act of cultural recuperation. The present study outlines the fields of indigenous writing in Australia and New Zealand in the crucial period between the mid-1980s and the early 1990s - particularly eventful years in which postcolonial theory attempted to 'centre the margins' and indigenous writers were keen to escape the particular centering offered in search of other positions more in tune with their creative sensibilities. Indigenous writing relinquished its narrative preference for social realism in favour of traversing old territory in new spiritual ways; roots converted into routes. Standard postcolonial readings of indigenous texts often overwrite the 'difference' they seek to locate because critical orthodoxy predetermines what 'difference' can be. Critical evaluations still tend to eclipse the ontological grounds of Aboriginal and Māori traditions and specific ways of moving through and behaving in cultural landscapes and social contexts. Hence the corrective applied in Circles and Spirals - to look for locally and culturally specific tracks and traces that lead in other directions than those catalogued by postcolonial convention. This agenda is pursued by means of searching enquiries into the historical, anthropological, political and cultural determinants of the present state of Aboriginal and Māori writing (principally fiction). Independent yet interrelated exemplary analyses of works by Keri Hulme and Patricia Grace and Mudrooroo and Sam Watson (Australia) provided the 'thick description' that illuminates the author's central theses, with comparative side-glances at Witi Ihimaera, Heretaunga Pat Baker and Alan Duff (New Zealand) and Archie Weller and Sally Morgan (Australia).