By Jasbir K.Puar, Zillah Eisenstein, Rosalind C.Morris, Judith Butler, Muneer Ahmad, Meena Alexander, Lopamudra Basu, Sandrine Nicoletta, Yigal Nizri, Ban Wang
Seeing that September eleven, public discourse has usually been framed by way of absolutes: an age of innocence provides technique to a gift less than siege, whereas the U.S. 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 strengthen 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 awarded by way of fundamentalism of all kinds.Examining the strengths and shortcomings of zone, race, and gender reports within the look for knowing, this factor considers cross-cultural feminism as a method of struggling with terrorism; racial profiling of Muslims within the context of different racist logics; and the homogenization of dissent. the problem comprises poetry, photographic paintings, and a piece of writing through Judith Butler at the discursive area surrounding the assaults of September eleven. This striking 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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Extra info for 911: A Public Emergency (Social Text 72)
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.
With the collapse of the Soviet Union and the existing socialisms on the way to the world market, the United States became the only hegemonic power in the world capable of maintaining the world order with military and economic might. It seems now that the ideology of economic liberalism does not need to serve the powers that be and can go along with the drift of “benign” capital, with the aids of markets, free trade, transnational organizations, and supranational juridical structures, to achieve the dream of Empire.
In “Petroglyph,” the lines rendered in italics, in the epigram in section IX are drawn from Muriel Rukeyser’s poem “Waterlily Fire”: see section 1 (“The Burning”) and section 2 (“The Island”) (A Muriel Rukeyser Reader, ed. Jan Heller Levi [New York: Norton, 1994], 201, 203). I am grateful to David Harvey for his discussion of Kant in “Cosmopolitanism and the Banality of Geographical Evils,” Public Culture 12 (spring 2000): 529 – 64. The painter of “Riposte” is my friend Cecilia Edefalk. Lyric in a Time of Violence 29 The Poet in the Public Sphere A Conversation with Meena Alexander N E W Y O R K C I T Y, J A N U A R Y 2 0 0 2 The events of September 11 and the aftermath: military retaliation, racial profiling of immigrants and international students, as well as the antiwar organizing in New York City, suddenly brought a new layer of urgency and complexity to our thoughts about artistic creation and critical dissent.