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Download 911: A Public Emergency (Social Text 72) by Jasbir K.Puar, Zillah Eisenstein, Rosalind C.Morris, Judith PDF

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 frequently been framed when it comes to absolutes: an age of innocence supplies technique to a gift below siege, whereas the USA and its allies face off opposed to the Axis of Evil. This designated 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 boost an antiterrorism stance that recognizes the legacy of U.S. alternate and international coverage in addition to the variety of the Muslim religion and the hazards offered by means of fundamentalism of all kinds.Examining the strengths and shortcomings of quarter, race, and gender reviews within the look for figuring out, this factor considers cross-cultural feminism as a way of fighting terrorism; racial profiling of Muslims within the context of different racist logics; and the homogenization of dissent. the difficulty contains poetry, photographic paintings, and a piece of writing via Judith Butler at the discursive area surrounding the assaults of September eleven. This awesome variety 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 okay. Puar, Amit S. Rai, Ella Shohat, Ban Wang

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Additional info for 911: A Public Emergency (Social Text 72)

Example text

Blunt, caustic red. What instrument of rage can the wind fling? I hate your knucklebone! The child cries. She sees Kant on his bookshelf. V When I was a child I saw the sea burn. I need to tell you this. How often I have written that line, no page to put it on, no voice to mark it mine. On the Indian Ocean Lyric in a Time of Violence 25 I turned five, aboard a white steamer. I left a house behind: red stone in the room where the man stood, flesh marking a staircase. Ribcage, a furious flower that cracks space.

Though sometimes I feel I just want to write about childhood, I sense now I cannot afford the luxury of writing about a world enclosed. Still, I still need to dig back. The personal past has to be knotted up in the present. I must carry it as a bundle, bear it as a migrant might a blanket tied up with all her worldly possessions. So in this way I feel very intimately the necessity of artistic work. It is what I am called to do. In a very simple way I have found my work. Or my work has found me.

When I moved back to India, there was the Emergency. My novel Nampally Road was written at that time. And now for us in New York City, there is this very complicated palimpsest of place. When you were reading this poem “Petroglyph,” you asked what is this Königsberg, and you said Königsberg is unknown to me, as is Istalif, as is Kandahar. They are all unknown to us, all names but how do these names come together for us in our heads? In a way there is a poetics of dislocation that I am trying to figure out, to lay bare, if you wish.

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