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    <title>Introduction: By the Time I Got to Phoenix (Book Excerpt)</title>
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    <published>2012-02-01T04:02:03Z</published>
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    <summary>For those who prefer history chopped up into neat slices, John McCain&apos;s modest concession speech on the lawn of the Arizona Biltmore on November 5, 2008, seemed like a clean cut of the knife. With the economy in a nosedive, it was not just the end of a presidential campaign. The neoliberal era seemed to be over--its reigning troika of deregulation, marketization, and privatization cast into disgrace, along with its most recent fiscal vehicles such as debt leveraging and speculation in finance and land. Nowhere was the devastation more visible than in McCain&apos;s hometown. Phoenix had flown highest in the race to profit from the housing bubble, and it had fallen the furthest. Footage of the metro region&apos;s outer-ring subdivisions reclaimed by sage grass, tumbleweed, and geckos was as evocative of the bubble&apos;s savage aftermath as photographs of the Dust Bowl&apos;s windblown soil had been of the Great Depression.</summary>
    <author>
        <name>Andrew Ross</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=6&amp;id=78</uri>
    </author>
    
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    <category term="phoenix" label="Phoenix" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="sustainability" label="sustainability" scheme="http://www.sixapart.com/ns/types#tag" />
    
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        <![CDATA[<blockquote class="webkit-indent-blockquote" style="margin: 0pt 0pt 0pt 40px; border: medium none; padding: 0px;"><div><br /></div><div><font class="Apple-style-span" style="font-size: 1em;">The creature in the sky got sucked in a hole, Now there's a hole in the sky, and the ground's not cold, And if the ground's not cold, everything is gonna burn. We'll all take turns, I'll get mine, too.</font></div><div><font class="Apple-style-span" style="font-size: 1em;">-- The Pixies, "This Monkey's Gone to Heaven"</font></div></blockquote><div><br /></div><div><div>For those who prefer history chopped up into neat slices, John McCain's modest concession speech on the lawn of the Arizona Biltmore on November 5, 2008, seemed like a clean cut of the knife. With the economy in a nosedive, it was not just the end of a presidential campaign. The neoliberal era seemed to be over--its reigning troika of deregulation, marketization, and privatization cast into disgrace, along with its most recent fiscal vehicles such as debt leveraging and speculation in finance and land. Nowhere was the devastation more visible than in McCain's hometown. Phoenix had flown highest in the race to profit from the housing bubble, and it had fallen the furthest. Footage of the metro region's outer-ring subdivisions reclaimed by sage grass, tumbleweed, and geckos was as evocative of the bubble's savage aftermath as photographs of the Dust Bowl's windblown soil had been of the Great Depression.</div><div><br /></div><div>Had Arizona's senior senator not owned a condo nearby, he would have stayed in the hotel's Goldwater presidential suite (every president since Hoover has slept at the Biltmore), stirring up associations with the Phoenix politician whose 1964 run for the White House pioneered the modern conservative temper of evangelizing against the power of government. Regarded locally as a carpetbagger when he first ran for Congress in 1982, McCain benefited from his wife Cindy's family connections to take over&nbsp;Barry Goldwater's senate seat four years later, but his people-pleasing style found little favor over the years among the Goldwater faithful. On that night, at least, there was no dearth of commentators willing to see McCain's concession speech as heralding the end of the Sunbelt's long hold on national politics, an arc that originated in the postwar effort of Goldwater's circle at the Phoenix Chamber of Commerce to remake Arizona's decrepit GOP into an instrument of growth for growth's sake. Had the momentum behind the Sunbelt's mercurial rise--fueled by low taxes, light regulation, antiunion labor laws, cheap land, cheaper water, and big federal funding for defense industries and suburban infrastructure--finally run its course? Perhaps the future now lay elsewhere, a conviction that pulsed through the boisterous (and much more multicultured) crowd who greeted Barack Obama's victory speech in the public plenitude of Chicago's Grant Park.</div><div><br /></div><div>For those whose sense of occasion was more international in scope, one of the comforts to take away from the 2008 election was the hope that the world's mounting environmental crises would finally be addressed by U.S. leaders. Global climate change had been flatly ignored by the previous occupant of the White House, even as the volume of atmospheric carbon nosed upward to levels that rang the experts' alarm bells. Although neither McCain nor Obama made any mention of the subject that night in their respective speeches, the election outcome promised the end of an epoch of denial about the costs of unsustainable growth and wanton use of the earth's resources. The incoming administration had every reason to cut a new energy path. Indeed, the postrecession recovery might well depend on the development of clean technologies and job creation tied to energy efficiencies. Going green was no longer simply a lifestyle choice for well-heeled consumers, it was being touted as the key to the next economy. There was even evidence of an investment bubble in clean energy--labeled the "Good Bubble" by some wags.</div><div><br /></div><div>Again, the case for the prosecution lay just beyond the lush grounds on which McCain stood. The Biltmore--conceived as the deluxe antithesis of a railway hotel stop for westward travelers--had once stood in self-important isolation well to the north of the city. That desert perch, just below Piestewa Peak and west of Camelback Mountain, was now at the geographical center of a conurbation of more than four million people. The metropolis, whose six-lane arterial roads and canal networks spread out to connect single-family tract housing all across the Phoenix Basin, was a horizontal hymn to unsustainable development. With less than eight inches of rain a year, and the hottest summer temperatures of any city in the Northern Hemisphere, the 1,000-square-mile sprawl known as&nbsp;the Valley of the Sun appeared to subsist in a state of denial about its inhospitable location.</div><div><br /></div><div>Although it benefits from the large mountain watersheds of the Gila and Salt rivers, the 17,000-square-mile region known as Greater Phoenix depends on a water supply pumped 300 miles uphill from the overallocated Colorado River, now in the second decade of a drought that has shrunk its volume to unprecedented lows. From 1990 to 2007, Arizona added fossil-fuel pollutants faster than any other state--the rate of increase was more than three times the national average. The region is deluged with more than 330 days of bright sunshine, yet only a tiny percentage of its energy is drawn from solar sources. Once a haven for TB sufferers seeking respiratory relief, by 2005 the Valley's infamous Brown Cloud was drawing the lowest national grades from the American Lung Association for air quality in both ozone and particulates, and in 2010, reclaimed the number one slot for dust pollution after a few years of improvement in reducing ozone levels. But the impact was far from even--there was ample respite for those who could afford the aromatic desert breeze of Maricopa County's northern reaches, while the lower-lying geography of South Phoenix hosted the dirtiest zip code in the country, home to 40 percent of the city's hazardous industrial emissions.</div><div><br /></div><div>To cap it all, climate change had targeted the state for special attention in the years to come. As Jonathan Overpeck, Arizona's leading climatologist (and one of the chief authors of the seminal 2007 assessment by the Intergovernmental Panel on Climate Change), warned the state's House Environment Committee in February 2009: "Whether it is drought frequency, the increase in temperature or the decrease in soil moisture, we are in the bull's-eye--the worst in the United States." To many eyes, the fastest-growing U.S. city of the last half-century seemed more like a canary in the mine than a phoenix about to rise from the ashes of its latest speculator-induced crash.</div><div><br /></div><div><b>SHARING THE SKY</b></div><div><br /></div><div>Any mention of atmospheric or geological change tends to make a mockery of the decisive significance we attach to the dates of human events, but in the case of the 2008 election result, so did the political aftermath. After the drubbing that Goldwater took in the 1964 election, the pundits concluded that he had wrecked the fortunes of the Republican Party and the cause of conservatism for at least the next generation. They could not have been more wrong. A similar consensus arose not long&nbsp;after the polls closed in 2008--the damage wrought by George W. Bush and Dick Cheney would surely consign the GOP to the status of a minority party composed of embittered white folks in the Deep South and a sprinkling of sparsely populated High Plains and Western states. That prediction soon proved unfounded too. The cold-shouldering of Sarah Palin on the Biltmore lawn that night--McCain's handlers would not allow her to speak--would become a potent symbol for the mobilization and resurgence of the hard right.</div><div><br /></div><div>In the years that followed, the conservative movement reorganized around new citizen-based groups, derisively labeled by opponents as "astroturf" (i.e., not genuine grassroots initiatives) because they were in part conceived and funded from the top down by corporate magnates. The most prominent of these groups, Americans for Prosperity (bankrolled by the Koch family of oil speculators) and FreedomWorks, helped to launch the Tea Party movement, polish the stagecraft of populist protest in town hall meetings, and run firmly focused campaigns, like the Hot Air Tour, aimed at thwarting climate change legislation. These drives found ready recruits among Arizona's staunch libertarians and a loud echo chamber in the state's Republican-dominated legislature.</div><div><br /></div><div>In the weeks leading up to the 2008 election, it looked as if Arizona might tilt to Obama. In the aftermath, the state's Republicans firmly reasserted their hold on policymaking, and distinguished themselves nation- ally by passing some far-reaching laws, including the notorious anti-immigrant bill, SB 1070, that pushed well beyond the nation's legal mainstream. Cheered on by the Hot Air foot soldiers, climate change denial became a point of honor among the state's GOP leadership. The same legislators who had listened to Overpeck's dire warnings voted to ban Arizona's Department of Environmental Quality from regulating greenhouse gases and withdrew Arizona from the Western Climate Initiative, an interstate effort to reduce carbon emissions that had drawn heavy fire from business interests. The state's political contribution to federal efforts was equally damaging. John McCain was the only Republican senator to push for climate change legislation during the Bush years, but he quickly reverted to the party line after his electoral defeat and played a prominent role in blocking any such legislation from reaching the senate floor, both before Copenhagen's UN Climate Change summit in December 2009 and in the months that followed.</div><div><br /></div><div>The year that Obama took office saw a 6.9 percent decrease in carbon-dioxide emissions in the United States (and a 1.3 percent drop globally), but this welcome relief had little to do with policies in Washington, or any&nbsp;of the world's political capitals. It was almost wholly a result of reduced industrial activity and energy demand brought about by the Great Recession. The International Energy Agency, which monitors global emissions, reported, in May 2011, that the return of GDP growth so fiercely urged by business and government elites had boosted 2010 carbon emis- sions to record levels (30.6 gigatonnes), far in excess of the rate at which renewable energy was currently being developed and consumed. In advance of the Copenhagen summit, climate scientists (traditionally a cautious community) turned in their alarming verdicts on the likely geographic impact of global warming--melted ice caps and thawed permafrost, mass species extinction, acidified oceans and salinized soil, loss of islands and low-lying land, prolonged drought, and rising temperatures in the next two or three decades that would outstrip any effort at stabilization.</div><div><br /></div><div>The abject failure of international leaders to reach binding emission- reductions targets in Copenhagen, and a year later in Cancun, at the next UN climate change meeting, compounded the despair that thoughtful people now felt about the future. Activists and officials who came home from these climate summits in a deep funk had to be persuaded that progress was being made somewhere. Where national and regional politicians were still in the pockets of the oil, coal, and gas lobbies, cities, we were reminded, had been putting green policies into action for some time now. The Large Cities Climate Leadership Group (C40), comprising forty of the world's largest cities collaborating on extensive decarbonization programs, issued its own Climate Communiqué at Copenhagen, in which mayors pleaded with the national representatives of the carbon powers to "recognize that the future of our globe will be won or lost in the cities of the world." Aside from demonstrating that city governance was more progressive than policymaking at the state level, the mayors' statement reflected a growing consensus that only in dense urban environments could efficient, low-carbon living be achieved on a mass scale. Humans were fast becoming an urban species, and their survival would depend on how they lived in cities that already consumed 75 percent of the world's energy and emitted 80 percent of the greenhouse gases. Even without a decisive shift in energy supply away from fossil fuel, more compact patterns of urban growth were delivering a sizable boost to efforts at decarbonization.</div><div><br /></div><div>In the United States, looking to cities as sites of salvation was an old story, though the script for "city as redeemer" had changed several times since John Winthrop's 1630 exhortation to the Massachusetts Bay Colony pilgrims that they should build a "city upon a hill." For the best part of two centuries, American city-building was driven by the long-standing&nbsp;Christian equation of godliness with city residence. But the late nineteenth-century rise of the teeming industrial city--routinely depicted by reformers as a miasma of sin, filth, and corruption--turned urban living into a moral trap. The infernal Victorian city of industry was now seen as a threat to the physical and spiritual health of its inhabitants, raising their mortality rate and diluting their humanity. Urban improvers were inspired to redeem this fallen population, first through environ- mental uplift in the form of edifying contact with parks and other leafy spaces and then through planning aimed at decongestion by dispersing their numbers out to garden cities on the green and airy urban fringe.</div><div><br /></div><div>The shift to decentralization and mass suburbanization in the twentieth century had many overlapping causes (some of them clearly governed by racial prejudice), but it turned on the belief that low-density suburbia was a more salubrious environment than the congested center city. Yet, beginning in the early 1980s, the pattern of outward flight began to slowly reverse itself. Whereas before, moral homilies about ill-health had been directed at residents of overpopulated city cores, the new targets for scorn were increasingly the suburbanites whose auto-dependent and lawn- loving lifestyle was perceived as fundamentally selfish because it claimed a grossly unfair share of the world's energy budget. Dense cities that used to be seen as parasitical organisms, dangerously out of synch with nature, were now would-be paragons of sustainability, carrying a much lower environmental load per capita than the pastoral suburbs that were created as antidotes to urban ills.</div><div><br /></div><div>How did city officials respond to this sea change? From the early 1990s, urban managers began to set themselves sustainability goals, assessing their progress by performance indicators, and demanding that long-term planning be guided by "smart growth" principles. In Europe, where overall or whole city densities are 40-60 persons per hectare, more than 1,500 municipalities signed the 1994 Aalborg Charter and competed for awards as part of its European Sustainable Cities &amp; Towns Campaign. In the United States, where densities are under 20 persons per hectare, the uptake was much slower, and confined, for many years, to a select group of cities (Portland, San Francisco, Seattle, Santa Monica, Austin, Chattanooga). Over time, however, a city's rise in national sustainability rankings became something for public officials to tout and for the local chamber of commerce to brandish as a competitive advantage in recruiting the kind of high-wage investment that major-league cities craved.</div><div><br /></div><div>Jockeying for position as a "green city" has become the name of the metropolitan game. It has lately supplanted the race to be a "creative city," a development model that flourished in the early part of the decade. Mayors,&nbsp;especially, have found that green is a useful color to attach to their electoral profiles. More than one thousand signed the U.S. Conference of Mayors' Climate Protection Agreement, vowing to reduce carbon emissions in their cities below 1990 levels, in line with the Kyoto Protocol. ICLEI-Local Governments for Sustainability now comprises more than 1,200 municipalities from seventy different countries, each committed to meeting goals and sharing techniques for green governance. At the dawn of the Obama era, there was even more reason to become a contender in the green sweepstakes. Laid low by the recession, U.S. cities were desperate for a lifeline and were looking to land federal stimulus monies under the competitions sponsored by the American Reinvestment &amp; Recovery Act (ARRA). Those with a portfolio of green projects to propose were well positioned to compete for the funds.</div><div><br /></div><div><b>THE VIEW FROM CITY HALL</b></div><div><br /></div><div>The Great Recession dropped the country's fifth largest city into the deepest of holes. Like its twenty-one sister cities in the Valley of the Sun, Phoenix relied heavily on sales tax for its revenue, and it was facing a dreadful budget shortfall. A high-pressure zone of antitax sentiment had settled over the state, and so, with no easy options for making up the deficit, the ARRA stimulus money beckoned. Phil Gordon, an affable and popular second-term mayor, became a frequent flyer to Washington, boosting his own carbon footprint by promising to reduce that of his city. "I've tried to spend a lot of time in D.C. emphasizing that Phoenix hasn't just jumped on the green bandwagon because of money," he told me after one of his visits. "Because Phoenix is a desert community and a new city," we have "an understanding that it has to be sustainable," he explained, adding that "we manage our resources very well while realizing this is a fragile environment." Reeling off a list of green achievements in areas as diverse as recycling, water conservation, LEED-certified buildings, smart growth planning, and a municipal fleet run on clean energy, he described bold plans for constructing jumbo solar farms, and for combating the steady rise in urban heat island temperatures. Nothing too blue-sky, but there was more than a touch of gee-whizzery in the way he imagined the city solving its problems.</div><div><br /></div><div>Gordon had recently announced a novel aspiration for Phoenix--to become "the greenest city in America"--and the weekend before one of his Washington visits, his staff pulled together a 17-point plan to show how the city would reach the ambitious goal of becoming carbon-neutral. The plan drew heavily on expertise from Arizona State University's (ASU)&nbsp;new Global Institute for Sustainability, but, like any good politician, he distinguished pragmatic policymaking from the advice gleaned from the academics. What, for example, did carbon neutrality mean to him? "For some people," he averred, "if we only had one cow on the planet, we would not be carbon-neutral. For me, carbon neutrality means taking the existing baseline of carbon emissions we have today, and then, as we go forward, choosing not to add to that output." The plan's showpiece was a proposed green zone around the city's new light rail corridor, where an adjacent strip of retrofitted buildings would help stem the long-term rise in nighttime temperatures: parts of Phoenix had seen an alarming 11-degree Fahrenheit increase in nighttime temperatures over the last fifty years, and differences of as much as 15 degrees were routinely recorded between temperatures downtown and on the desert fringe.</div><div><br /></div><div>Like almost all of the city's mayors in recent decades, Gordon had a sometime career in real estate development--his previous job was chairman of Landiscor, an aerial mapping company that provided a direct service to land developers and homebuilders. Given his range of contacts in the industry, he ought to know if the region's developers were on the same green page. "I think that chapter is still being written," was the most he would venture. "Arizona has been built on a lot of unwise development," he acknowledged, and, recently, "we were building sixty thousand homes a year out in the middle of nowhere before they were needed." Gordon's cautious estimate was well warranted. Mayors could tinker with their little acre of city-owned land and buildings, but the destiny of land use in this growth-driven metropolis was well out of their hands. Developers and homebuilders were the most powerful players in the state of Arizona, and, as another public official put it to me, their lobbyists "inhabit the inner cavities of our elected representatives."</div><div><br /></div><div>Nor was the mayor of Phoenix the most influential voice at City Hall. Like most Sunbelt cities, Phoenix has a council-manager government. A legacy of municipal reforms that swept away the corrupt political machines of the late nineteenth and early twentieth century, this type of government has left mayors with a largely ceremonial role beyond which they often functioned, as Gordon did, like publicists with a bully pulpit. In reality, the show was all but run by a professional city manager, and, in this case, it was the long-serving Frank Fairbanks, who had overseen twenty years of rampant growth and collected a raft of national awards for efficient government along the way. Did he share Gordon's euphoria for greening the city?</div><div><br /></div><div>Fairbanks was known for his soothing presence, and so whatever passion he felt for the proposition was not on display when I met with him. It was his last official day before going into retirement, and he was more&nbsp;inclined to rest his case on documented evidence that Phoenix was doing relatively well when it came to resource management. San Francisco and New York, he noted, also piped in their water supplies, and, while Phoenix had been "a pioneer in energy conservation," it also had "fewer degree days than Chicago, Boston, and New York." Although renowned for sprawl, Phoenix's overall density compared favorably with other large metro areas. Handing me a 2001 Brookings Institution survey of metro regions, he noted, "You might be surprised that Honolulu has the highest density, LA is second, and Phoenix is number ten, ahead of Chicago, Boston, and Philadelphia." While "our reputation is for sprawl," he conceded, "Phoenix becomes more dense each year, and Atlanta becomes less dense." Born at a time when Phoenix had only 80,000 residents, Fairbanks predicted that rising fuel costs and water scarcity would rein in the urban growth machine. "In the long run, I think that the old system is going to die. However, what brought people here will continue to bring them here in the future, but we will accommodate them in a different way from the past, and they will be attracted to a different, more fulfilling, more sophisticated and more dense lifestyle." "Phoenix's future," he emphasized repeatedly, "is in higher density."</div><div><br /></div><div>For a manager without a political portfolio, he was blunt about the nature of the obstacles. "Phoenix is majority Democrat and fairly liberal for the West, but the state is overwhelmingly Republican and conservative and laissez-faire," and the fact that "the state contributes no funding for transportation" severely constrained the city's effort to reduce its carbon footprint. Hamstrung by a constitutional limit of 10 percent on the contribution of property taxes to the city budget, the campaign to win the newly established light rail line, for example, had been a bitter struggle: "There was huge opposition, because people think public transportation is a communist plot," but the city prevailed even though it was now only "where New York City was in the 1880s." Despite the constant pushback from the right, Fairbanks took some credit for supporting a denser, more sustainable downtown core with urban amenities that did not exist two decades before: "We have moved away from growing as fast we could to focusing on quality of life." As for the outlying suburban cities, he was even less charitable than Gordon in assessing their inefficiency and lack of demographic diversity: "They are building Omaha out there."</div><div><br /></div><div>Facing down the swelling deficit in the city budget, with crippling reductions already ordered in payroll and services, and with no prospect of a quick recovery, Gordon and Fairbanks could hardly give vent to the full-throated voice of Western boosterism, but some muted version of it ran through the mayor's wonky cheerleading and the manager's gladsome&nbsp;assessment of his record. Outside of City Hall, the spectrum of opinion about the city and the region's prospects for becoming a center of green achievement was much broader, and I encountered the full spread in the two-year span of the interviews I conducted with the more active residents of the region.</div><div><br /></div><div><b>PHOENIX MAN</b></div><div><br /></div><div>Among them were downtown activists for whom a compact, vibrant core had become an evangelical cause, and business advocates who saw a profitable silver lining in this same vision. But I also interviewed affluent, quality-of-life suburbanites in North Phoenix, Scottsdale, and other East Valley cities, for whom green living meant a very private blend of solar roofs, open space conservation, and desert gardening (xeriscaping); low-income casualties of toxic pollution in South Phoenix, who fought dirty industry and government inaction as a matter of physical survival; big-dog developers who saw green features in their master-planned communities as a selling point to jump-start the growth machine on the urban fringe; GOP law- makers and libertarians whose loyalty to the Tea Party ethos took the form of conservation based on private property rights; ASU administrators and academics for whom the public buzz about sustainability was an opportunity to make scientific research a basis for public policymaking; Anglo nativists whose fixation on chasing off immigrants was driven by the belief that border-crossers were threatening the region's ecosystem; and tribal activists trying to reconcile their quest for decent livelihoods with the roles allotted to them by others as traditional stewards of the land.</div><div><br /></div><div>The most jaded among them saw a twentieth-first-century Detroit in the making, with the Valley's dominant industry--home construction-- in a spiraling decline and little expectation of hatching or courting alternatives that might diversify the jobs economy. Even so, the likelihood that the metro population would not only stagnate but shrink appreciably was not a prospect they entertained for long, not even in their most despairing moments. Nor, for most of them, did their view of the future include the more alarming vision of urban eco-collapse from some extreme state of resource scarcity. Unlike in other Arizona municipalities, which impose water-use restrictions, Phoenicians have never had to dread being busted as water scofflaws, nor do they fear power blackouts during heat waves.</div><div><br /></div><div>Those who leaned toward the more dismal scenarios were natural scientists or else environmentalists with a naturalist bent. Approaching unsustainable conduct from the standpoint of studying other life forms, they&nbsp;were bound to be frustrated by what appeared to be self-destructive decisions on the part of human populations. Jeff Williamson, longtime director of the Phoenix Zoo, and outspoken president of the Arizona Zoological Society, put this view well in describing the dysfunctionality of the city's dependence on land speculation: "I do not understand why the organism has not designed ways of existing where there is a secure pattern of life. It creates risks for itself, and it has decided that that boom and bust cycle is of greater value than sustainability. It could design more robust and diverse economic systems. But it has made a decision to invest substantial public resources in an industry that has one business cycle--boom and bust." His conclusion was that this kind of behavior "is irrational in living systems," but that it seemed to be typical of the organism that we could just as well call "Phoenix Man."</div><div><br /></div><div>Williamson was no less critical of his own profession. "Zoos should go away," he declared, "they are part of the problem," because the concept of "wildlife as a form of recreational amusement comes from a European and Asian culturally elite model" that is outdated and ecologically damaging. In his view, if humans could not elect to help animals become resilient over time, there was little hope for their own species, especially in places like Phoenix, which "is almost a perfect example of how to incentivize and encourage lifestyles and business practices that cannot be sustained and will do damage over an extended period of time." Although he was a round-the-clock advocate of sustainable habits, he believed that a culture of "living on limited resources in an unlimited fashion" was "going to fail here sooner than most places, because the carrying capacity is just not here." What would be the best, immediate outcome? "I hope," he offered with a provocative twinkle in his eye, "that Phoenix goes down to about 40,000 people." That number, I reminded him, was the peak population of the Hohokam, the prehistoric inhabitants of the Phoenix Basin, just before the decline of their society set in.</div><div><br /></div><div>For the most part, this kind of apocalyptic scenario was reserved for outsiders who tend to place Phoenix high in the ranks of American urban demonology, either because of the region's fierce brand of Sunbelt conservatism or its textbook profile of exurban sprawl. Indeed, some of the condescension toward this Sonoran desert metropolis crystallized in the belief that it should not have existed in the first place, and that it may not exist for much longer, succumbing, as it surely would, to the fate visited upon ancient desert civilizations that had also overshot their resources. In the 1960s, Edward Abbey, Tucson's most cantankerous environmentalist, wrote, "There is no lack of water here, unless you try to establish a city where no city should be." Rebecca Solnit, today's most talented essayist&nbsp;of the West, tapped some of Abbey's spirit when she recently summoned up this vision of ruination: "Phoenix will be like Jericho or Ur of the Chaldees, with the shriveled relics of golf courses and the dusty hulls of swimming pools added on."</div><div><br /></div><div>Solnit was also adding a modern, environmental gloss to a tradition, dating from the Romantic movement's fascination with ruins, in which writers take a sharp, moralistic delight in depicting the wreckage of their own civilization. Here, for example, is T. S. Eliot's version (from his 1934 pageant play, <i>The Rock</i>):</div><div><br /></div></div><blockquote class="webkit-indent-blockquote" style="margin: 0pt 0pt 0pt 40px; border: medium none; padding: 0px;"><div><div>And the wind shall say 'Here were decent godless people: Their only monument the asphalt road And a thousand lost golf balls.'</div></div></blockquote><div><div><br /></div><div>Although Eliot probably did not know how long golf balls actually take to decompose (up to 1,000 years), and was writing well before the era of public concern about the high ecological costs of highways and golf courses, these artifacts served him as convenient symbols of a culture whose misplaced priorities would surely lead to its downfall.</div><div><br /></div><div>I live among New Yorkers who often imagine their city being decimated and depopulated by natural or man-made disasters, and there are many more outsiders than is the case with Phoenix who would dearly like to see Gotham in ruins. Indeed, there is an extensive library of films and novels that illustrate in acute graphic detail the near-future destruction of New York. Given that sea levels may rise by several feet before 2100, those fictions may well cede to fact quicker than we think. Phoenix, by comparison, has rarely been the seat of catastrophe fantasies, despite its status as a natural target for destruction during the Cold War, when it served as the nation's premier location for Air Force pilot training and as a major manufacturing center for military hardware. The one exception I know of is Harlan Ellison's 1969 classic novella <i>A Boy and his Dog</i> (made into a film in 1976). It is set in the deserts of a postapocalyptic Phoenix Basin, underneath which a white-bread theme park of Midwestern Americana has been built for survivors.</div><div><br /></div><div><b>WHY PHOENIX?</b></div><div><br /></div><div>If Phoenix could become sustainable, then it could be done anywhere. That was the premise that drove my investigations from an early point. Even if&nbsp;it is not the world's least sustainable city (and some will quibble over this designation), it is a very close contender, and, in any event, the title is not worth arguing over. More than any other U.S. metropolis in the postwar period, Phoenix has channeled the national appetite for unrestrained growth, and American growth still consumes a vastly disproportionate share of the earth's resources, including its carbon allotment. The city's business model, in other words, is a clear threat to life and land in places even more vulnerable than the Valley of the Sun. If there is any hope of reversing the pattern of desertification, species loss, and ice-cap melt in more remote locations, then the culture that produced "Phoenix Man" will have to be transformed.</div><div><br /></div><div>The nineteenth-century doctrine of Manifest Destiny made the settlement of the far West's semiarid lands a matter of federal resolve. Reclamation for homesteading was pursued through decade after decade of lavish government spending on public works and water infrastructure, while the region's economic backbone was built out of defense industry funding. Even with all of that federal assistance, the stark vulnerability of Phoenix's Sonoran habitat makes it stand out as a questionable location for more than 4 million people, let alone the 9 million that regional boosters have forecast for the megapolitan region--the Sun Corridor stretching from Prescott to Tucson--in the decades to come. Yet many of the world's fastest-growing cities are also in hot, semiarid regions, and so, as climate change intensifies, they will share much the same destiny as Phoenix. Solutions culled from Central Arizona may turn out to be applicable in the megacities of Asia, Africa, and the Middle East.</div><div><br /></div><div>Sound lessons about the art of sustainable urban living have already been drawn from environmental showpieces like Portland, Curitiba, Reykjavik, Saarbrucken, Helsinki, Freiburg, Santa Monica, Kristianstad, or Singapore. More susceptible, or recalcitrant, places have other things to teach us--how we go about making green decisions or whether we even have the wherewithal to make the right ones. That is why I chose to write this book about the struggle to make Phoenix into a resilient metropolis. Faced with larger environmental challenges, and considerably more resistance from its elected officials than havens of green consciousness like Seattle or San Francisco, it is a more accurate bellwether of sustainability than these success stories. In any case, the sociology of climate change has made it quite clear that no one can opt out, or be left behind. The revolt of poorer nations at Copenhagen and their regrouping, six months earlier, at the World People's Conference on Climate Change and the Rights of Mother Earth in Bolivia's Cochabamba, showed that everyone has to be on board if climate action is to be both effective and just. Nor can the most&nbsp;profligate communities be written off as hopeless cases. They are simply the weakest links in a chain that has to be strengthened tenfold.</div><div><br /></div><div>Anyone conversant with the scientific debate about global warming will know of Roger Revelle's 1956 testimony to Congress about the rise of CO2 emissions. "From the standpoint of meteorologists and oceanographers," he submitted, "we are carrying out a tremendous geophysical experiment of a kind that could not have happened in the past or be reproduced in the future." His tone and choice of words have long been criticized for sug- gesting that the impact of atmospheric CO2 presented merely a rare oppor- tunity for scientific study. Revelle made things worse in 1966 by remarking that our concern for the topic "should probably contain more curiosity than apprehension." That clinical mentality no longer prevails. Natural scientists are now among the most apprehensive, to say the least. Today, it is the task of averting drastic climate change that might be described as an experiment--a vast social experiment in decision-making and democratic action.</div><div><br /></div><div>Success in that endeavor will not be determined primarily by large technological fixes, though many will be needed along the way. Just as decisive to the outcome is whether our social relationships, cultural beliefs, and political customs will allow for the kind of changes that are necessary. That is why the climate crisis is as much a social as a biophysical challenge, and why the solutions will have to be driven by a fuller quest for global justice than has hitherto been tolerated or imagined. Moreover, if this social experiment is to avoid an authoritarian turn, then it cannot be strictly governed by the global math of carbon budgeting, nor can it be overridden by epic geo-engineering schemes (seeding the oceans with iron or reflecting sunlight though orbiting mirrors and brightened clouds). These grand formulas probably have their appeal to the technocrat within all of us, but they are not democratic pathways, nor, if they become part of the language of government, are they going to sway individuals and groups who are conspiratorially inclined or who take pride in bucking any guide to conduct that issues from public officials. The growing habit of gauging the carbon footprint of every product and every personal act has already become a pseudopolitical obsession, reducing our actions and use of material things to a dull data set. We cannot afford to let this carbon calculus supplant the GDP as a new statistical tyranny with which officials assess our behavioral performance as citizens. Carbon should become an outlawed by-product of our civilization, not its loud scourge.</div><div><br /></div><div>Readers of this book will find the same kind of caveat in the picture of Phoenix that I offer. In these pages, there is ample attention to the technical fixes and innovations that are typical of any focus on urban&nbsp;sustainability: water conservation policy; decentralization of energy pro- duction and distribution, the transformation of transit and transport, redesign of building and infrastructure, establishment of closed-loop waste systems, growth of a bioregional food supply, and the wholesale transition to carbon-neutral or renewable fuel. But my conclusion is that if these initiatives do not take shape as remedies for social and geographic inequality, then they are likely to end up reinforcing existing patterns of eco-apartheid. If resources tighten rapidly, a more ominous future beckons in the form of triage crisis management, where populations are explicitly selected out for protection, in eco-enclaves, or for abandonment, outside the walls. The anti-immigrant mood that has sharpened during Arizona's recessionary years stands as a harbinger of the hoarding mentality that may well govern such a desperate future. Chasing off immigrants through legally mandated police intimidation flies in the face of the conviction that a community's resilience depends on its capacity to adopt the conditions of its most vulnerable populations as a baseline for green policymaking.</div><div><br /></div><div><b>HOW TO DO PHOENIX</b></div><div><br /></div><div>Most people view social progress through a local lens, and while their sources of information are usually institutional, their sources of influence are more often than not the doings and sayings of turf champions, community activists, and habit-formers in their own neighborhoods, towns, and cities. This can make for parochial behavior, but it is also what enables cities to improvise, both with the resources at hand and in their own regional orbits. It is no coincidence that the environmental slogan "Think Global, Act Local" was first employed by Patrick Geddes, the Scottish urbanist who pioneered the idea of regional planning. It was with this positive parochialism in mind that I opted to take the social and political temperature of Metro Phoenix by interviewing 200 of its more thoughtful, influential, and active citizens (some of them were interviewed several times) about the region's prospects for becoming sustainable. They were chosen primarily on the recommendation of prior interviewees, though many showed up on my own field radar, and a few through fortuitous encounters at meetings or events. Of course, there were differences in how my interviewees defined sustainability, and some had even abandoned that slippery term because its meaning has been hopelessly diluted by overuse. Nonetheless, I have retained it as a working term in these pages if only because it has become common currency, even&nbsp;among those who are allergic, as one GOP state senator was, to its use "as a buzzword within the area of community planning," or, as he put it more pointedly, "by bureaucrats who are paid either through the university system or who make their living off of government."</div><div><br /></div><div>Aiming for broad coverage, I cast a wide net. Among my 200 were state legislators, government professionals in urban planning and economic development, real estate brokers and attorneys, policy analysts, land developers and homebuilders, nonprofit operatives, small business owners, civil rights champions, energy lobbyists, solar entrepreneurs, engineers, and technicians, utility regulators, industrial ecologists, banking economists, artists, curators, and gallerists, community activists, affordable housing providers, land trust officials, opinion journalists, urban farmers, archeologists, tribal activists and officials, green business advocates, environmental justice watchdogs, trade unionists, university administrators, and a variety of scholars engaged in sustainability research initiatives.</div><div><br /></div><div>Although my interpretation of the interviews was that of an outsider, this book is based on the testimony of those insiders. I combined their experience and knowledge of the metropolis with my own assessment of the strength and quality of their appetite for change. While the book is broken down into chapter topics (on water management, urban growth, pollution distribution, downtown revitalization, solar industry, immigration policy, and urban farming), my goal is to offer a composite picture of Phoenix's potential for a greener future along with the many obstacles that lie in its path. Secondary research took me into the history books and through the record of environmental action in other cities. Prolonged sojourns in different parts of the metro region over the course of two years gave me a feel for its urban texture and desert milieu, and, for a while, Central Arizona became a kind of second home, both in the dozy warmth of the winter months, and in the parlous heat of the ever-longer summer season.</div><div><br /></div><div>Phoenix boasts several organizations that take stock of the region's own performance. Self-analysis of this kind is conducted through the annual convocations of Arizona Town Hall--a "think tank" of regional leaders and experts called on to assess progress on topics such as transportation, housing, education, and land use--or the "do tank" of the Center for the Future of Arizona, which focuses on the same topics in a more applied fashion. The Morrison Institute, a busy center for public policy, issues regular reports on the social and economic health of the state, and a large share of ASU's research resources are now trained on diagnosing, and engineering solutions for, the region's problems. In&nbsp;particular, the university's Global Institute of Sustainability aims at the kind of holistic study of regional sustainability (drawing on the research of interdisciplinary teams) that is echoed in this book. Lastly, the business community is well served by organizations devoted to assessing the climate for investment opportunities such as Greater Phoenix Leadership, Greater Phoenix Economic Council, Phoenix Community Alliance, or the East Valley Partnership.</div><div><br /></div><div>Aside from all of this local self-scrutiny, my research unearthed a long record of commissioned studies from out-of-state organizations, catering mostly to the appetite for growth. Arguably, the most prominent example was a report, commissioned in 1976 from Herman Kahn's Hudson Institute by United for Arizona, a group of businessmen eager to take advantage of the new social science of "futurology" to pump up belief in the local religion of land development. The result was a landmark study, entitled <i>Arizona Tomorrow</i>, which envisioned a future scenario for 2012 that could not have been friendlier to the growth machine. In the report's paean to the Sunbelt way of life, the once forbidding desert environment was now, and for the foreseeable future, an "adult playground" to be enjoyed without consequences. Indeed, the Arizona lifestyle, the report insisted, was "largely responsible for redefining the very term 'desert.'" More recent surveys commissioned from the likes of the Urban Land Institute or the Lincoln Institute of Land Policy have tended to emphasize "balanced growth" in their drafts of the future, largely in recognition of the ecological costs of development that were generally ignored by the authors of <i>Arizona Tomorrow</i>.</div><div><br /></div><div>City newspapers have occasionally tapped outside consultants to produce assessments of the region's evolving reputation. Urbanist Neal Peirce was commissioned in 1987 by the <i>Arizona Republic</i> and the <i>Phoenix Gazette</i> to prepare one of his widely cited "Citistates Reports." In 2003, the alternative city newspaper, <i>Phoenix New Times</i>, brought in Richard Florida to address Phoenix's hopes of becoming the kind of "creative city" advocated by Catalyx, his consultancy group. Most recently, Florida's visit inspired Maricopa Partnership for Arts and Culture to contract Arthesia, a Swiss brand-building consultancy, to provide ideas for polishing and promoting the Valley's identity. "Opportunity Oasis" was the suggested brand moniker, though it proved to be a short-lived one.</div><div><br /></div><div>My own study was not commissioned, but it was triggered by a no-strings-attached invitation, in the spring of 2008, from an ASU institute, Future Arts Research, to come and do research of my choosing in Phoenix. Consequently, my first interviews were conducted with members of the arts community involved in the "battle for downtown" that I describe in&nbsp;chapter 4. From there, the project grew into a more politically ambitious undertaking, with an eye on useful knowledge for readers to take away. It is not a book that presents a policy blueprint, but there are lessons in it for policymakers, and some of them have to do with the fate of blueprints. The last two decades have seen ample offerings of expert advice about how to plan for a more sustainable future for Phoenix, yet my interviewees uniformly complained that implementation had been thin on the ground. Such plans were all too easily ignored or subverted when powerful voices intervened from the world of land speculation and development. Deference to these voices is deeply ingrained in the political culture of a region so dependent for so long on unrestrained growth, and it may take a decade or two to uproot this subservient per mind-set.</div><div><br /></div><div>Despite the vested power of the growth machine, I encountered people all over town working to dislodge business as usual. Although the odds were against them, sustainability advocates, practitioners, and activists were not difficult to find in the region. Many of them, and their efforts to change the game, are profiled in the pages of the book. Even those who were focused on their own twenty-block neighborhoods had reason to think that they were helping to make Phoenix a proving ground for ideas and practices that might be useful in far-flung cities faced with similar challenges. If urbanization is an open-ended process, as Jane Jacobs so firmly believed, then the greening of cities is a grand act of improvisation, maybe the last heroic effort in places where it can still make an appreciable difference. <i>Bird on Fire</i> is beguiled by that hope, even when there is little reason for it.</div></div> ]]>
        
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</entry>

<entry>
    <title>Bird on Fire: Response</title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/periscope/2012/01/bird-of-fire-response.php" />
    <id>tag:www.socialtextjournal.org,2012:/periscope//6.1767</id>

    <published>2012-01-30T03:15:48Z</published>
    <updated>2012-02-02T17:18:07Z</updated>

    <summary>Andrew Ross has done it again. He&apos;s researched something new, and written it up elegantly. In this case, the topic is sustainability, in that most right-wing of cities, Phoenix (Arizona). Ross weaves in a complex set of stories and voices,...</summary>
    <author>
        <name>Julie Sze</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=6&amp;id=726</uri>
    </author>
    
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    <category term="birdonfire" label="Bird on Fire" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="environmentalism" label="environmentalism" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="phoenix" label="Phoenix" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="sustainability" label="sustainability" scheme="http://www.sixapart.com/ns/types#tag" />
    
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        <![CDATA[<div><br /></div><div>Andrew Ross has done it again. He's researched something new, and written it up elegantly. In this case, the topic is sustainability, in that most right-wing of cities, Phoenix (Arizona). Ross weaves in a complex set of stories and voices, from right-wing property developers to bureaucrats, environmentalists, environmental justice activists and Native tribes. He begins this book with a simple-yet heretical- observation, a 21st Century version of the Frank Sinatra standard, <i>New York, New York</i>. That is, Ross contends, that if any city can make sustainability matter, it's not the environmentally friendly American cities like San Francisco and Portland, but rather, cities like Phoenix- short on water, defined by sprawl and spawning ground to Goldwater and his ilk.&nbsp;</div><div><br /></div><div>When I first heard Ross talk on the topic, I was skeptical. By the time I finished <i>Bird on Fire</i>, I was convinced of his choice to study Phoenix as the best way to illustrate one of his central arguments: that sustainability "is a social challenge as much as it is a biophysical goal" (199). For over 30 years, scholars of environmental racism and the environmental justice movement have argued that one of the major challenges to sustainability is class and race stratification between environmental and social/environmental justice activists. Indeed, Ross's analysis of Phoenix illustrates precisely how the physical, ecological, and ideological landscapes of sustainability discourse and policy in Phoenix are in lock-step with contentious debates around race, class and nation- state politics, especially around the politics of anti-immigrationism and of global climate politics.&nbsp;</div><div><br /></div><div>Ross does an excellent job of elucidating the landscapes of environmental racism in Phoenix, which has received little scholarly attention. Critical geographer Ruth Gilmore describes racism as the state-sanctioned or extralegal production and exploitation of group-differentiated vulnerability to premature death. This vulnerability manifests through higher rates of illnesses (cancer, asthma) and poorer health outcomes both on the individual and the community level. This situation is certainly the case in South Phoenix where Ross recounts the historical legacy of racial segregation, redlining and zoning that contained the African-American, Latino and Native populations of Phoenix, right alongside noxious and polluting facilities. He writes, "It is no small irony that the city's first sewage processing plant was located in South Phoenix in 1921, at a time when neighborhoods there had no water or sewage infrastructure of their own" (121). Although not a "new" or unique observation, nonetheless, the impacts of this history on the health, lives and life chances of vulnerable populations remain devastating. The predominantly minority population in Phoenix continues to host a massively disproportionate number of hazardous sites in both industrial and residential areas. According to official data, one working class neighborhood in a single zip code in South Phoenix produces nearly 40 percent of all of the city's hazardous emissions (122).&nbsp;</div><div><br /></div><div>In the face of overwhelming <i>everyday</i> pollution exposure as well as anomalous toxic incidents (such as a huge fire in a circuit board facility that burned thousands of pounds of sulfuric acid and hydrogen fluoride), community members have become activated. People like Mike Pops, a sharecropper's son from Mississippi, formed Concerned Residents of South Phoenix (CRSP) to fight the high rates of cancer and other illnesses. Elsewhere, Ross details the successful fight by the Gila River Indian Community (GRIC) in settling a water rights claim in 2003 that provided them with over 653,500 acre-feet of water after their ancestral access to water has been severely curtailed.&nbsp;</div><div><br /></div><div>Overall, Ross is successful in unmasking the complications behind the "feel-good/no-cost" environmentalist discourse that is ascendant in our green capitalist moment. Based on over 200 interviews, Ross succeeds where the policy-makers, activists, technocrats and private citizens in Phoenix fail- at putting together the dots outside of self-interested "positions" (and between the past and the present).&nbsp;</div><div><br /></div><div>There are at least three audiences for this book. First, one hopes that this book is taken seriously in Phoenix. Second, it should also read widely by all thought to have a professional stake in "sustainability." Lastly, it should be read by those with a personal rather than a professional stake in sustainability (a much broader audience than the first two). &nbsp;</div><div><br /></div><div>While Ross ends his book with the GRIC victory as a partial salve in a generally ambivalent account of sustainability discourse and practice, I wonder about whether hopefulness is at all warranted. Much of the excitement around green jobs and solar industries, and the relentless boosterism of people like <i>New York Times</i> columnist Thomas Friedman in <i>Hot Flat and Crowded: Why We Need a Green Revolution - And How it Can Renew America</i> (and more recently in <i>That Used to be US: How America Fell Behind in the World It Invented and How We Can Come Back</i>), reinforces Ross's contention that sustainability in practice often ends up recreating the existing social order and its hierarchies. I also wanted to know more about the global climate justice movement and whether that might be a significant example of a counter-hegemonic sustainability movement. Overall, <i>Bird on Fire</i> is an excellent, well-researched and well-written book, significant in its broader insights about the contemporary cultural politics of sustainability.&nbsp;</div><div><br /></div> ]]>
        
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<entry>
    <title>A City like the Desert</title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/periscope/2012/01/a-city-like-the-desert.php" />
    <id>tag:www.socialtextjournal.org,2012:/periscope//6.1769</id>

    <published>2012-01-30T03:12:48Z</published>
    <updated>2012-02-03T16:32:25Z</updated>

    <summary>I confess: I drive &quot;a Prius, eat organic and support wilderness preservation.&quot; I am under no illusion, however, that doing these things makes my lifestyle sustainable. There is much more to achieving sustainability goals personally and, more significantly, sustainability cannot...</summary>
    <author>
        <name>Sandy Bahr</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=6&amp;id=728</uri>
    </author>
    
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    <category term="birdonfire" label="Bird on Fire" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="development" label="development" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="phoenix" label="Phoenix" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="realestate" label="real estate" scheme="http://www.sixapart.com/ns/types#tag" />
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        <![CDATA[<div><br /></div><div>I confess: I drive "a Prius, eat organic and support wilderness preservation." I am under no illusion, however, that doing these things makes my lifestyle sustainable. There is much more to achieving sustainability goals personally and, more significantly, sustainability cannot be a solo act.&nbsp;</div><div><br /></div><div><i>Bird on Fire</i> drives home that point - environmental sustainability in our communities must be inclusive and it is impossible to achieve without social justice and social sustainability. We can nip around the edges by growing more of our food and "buying local," conserving water, and developing a strong mass transit system, but without a coming together of the haves and have nots, it is really just me driving a Prius.&nbsp;</div><div><br /></div><div>So there really are some key questions to answer? Can a city such as Phoenix achieve sustainability goals when it is dependent on imports of many kinds and its economic disparities are so stark? And how will we cope with the impacts of global climate disruption in a place that is already on the edge for livability? Will our political climate allow it? Can we adapt?&nbsp;</div><div><br /></div><div>Climate change will not be kind to the desert southwest according to the models and to those who have studied it most closely. Hotter and drier is not an aberration. In that context a city of concrete and asphalt is not sustainable. We cannot just close the doors and windows and crank up the air conditioning, even if it is powered by solar-generated electricity.&nbsp;</div><div><br /></div><div>Phoenix is a city of concrete and asphalt and it is already a city on the edge of what can be considered comfortable and perhaps even livable for human beings, at least in the summer. August 2011 was the hottest August on record with the average high temperatures reaching 109 degrees Fahrenheit in Phoenix. Hotter and drier in the Sonoran Desert are significant issues for all manner of life, whether you are a desert tortoise dependent on the vegetation sustained by summer's monsoon rains or a saguaro cactus that respirates at night to take advantage of cooler temperatures to retain moisture. For many people, it means soaring electric bills, but for those with limited resources and fixed incomes or without a home, these temperatures can prove downright deadly.&nbsp;</div><div><br /></div><div>As Ross points out, Phoenix was built on and has been sustained by cheap labor, subsidized and imported water, cheap gasoline to fuel the indispensible automobile, and, of course, cheap and abundant land. It is a city for land speculators, who even now are taking advantage of one of the highest home foreclosure rates in the country. As Phoenix continues to be mired in an economic recession, the chinks in the armor are more and more apparent and the house of cards economy is trembling already. Still, the people who have made a lot of money off this speculative and truly unsustainable real estate market are busy waiting for and working toward reawakening the development beast to continue business as usual.&nbsp;</div><div><br /></div><div>In Arizona and here in Phoenix, all roads lead to real estate development. Take even a superficial look at many elected officials and you will find they are part of some real estate deal. Real estate speculation is not just accepted in Arizona's laws and policies, it is actively encouraged and in fact, is seen by many as a fundamental right. A case in point is the story of the passage of Proposition 207, a measure that appeared on the ballot in 2006 largely due to the deep pockets of New York real-estate developer Howard Rich. Proposition 207 rewards and basically codifies land speculation by requiring that land owners be paid if new policies that affect the real or perceived value of their property are implemented; examples of such policies include ones intended to protect communities, land and resources, or ones requiring inclusive zoning to encourage a more sustainable development. The end result of Prop 207 is fewer requirements and less protection.</div><div><br /></div><div>Ross mentions, but really glosses over, the Citizens Growth Management Initiative and the role it played in Phoenix development - and considering the role of the Sierra Club in it and the fact that I worked on it personally, it is perhaps fitting that I give it more emphasis. To say it was merely about establishing growth boundaries is to oversimplify it, although clearly growth boundaries were an integral part of that measure. It was about much more. The measure incorporated economic sustainability. It required development to pay for itself rather than having the central city taxpayers bear the brunt of the economic burden. It required policies to protect neighborhoods and promote affordable housing. It required real sustainable water supplies for any new developments, supplies that could not place an undue burden on existing sources or on our rivers and streams. It was not the growth boundaries that scared the bejesus out of developers and the "real-estate industrial complex" as journalist Jon Talton quipped - it was the fact that the measure forged ahead on comprehensive questions of sustainability. &nbsp;</div><div><br /></div><div>In <i>Bird on Fire</i>, Ross discusses the anti-environmental, anti-immigrant, anti-progressive politics of State Senator Russell Pearce and those who join him in the Arizona Legislature and the governor's office, and how the politics threatens the economic and environmental sustainability of the Phoenix area. There is no doubt this is the case, but it may be that the lack of strong leadership to counter the Senator Pearces of this state is the greatest threat to our communities. It is those who remain silent, those who are "friends" to a more sustainable city but who do not speak up or at least not very loudly who imperil the city. It is those who say, I agree, but I cannot say that publicly, I cannot be elected by speaking the truth. It is those "leaders" who truly threaten the present as well as the future of Phoenix. This political climate cannot be sustainable.&nbsp;</div><div><br /></div><div>So, why do we stay in Phoenix?&nbsp;</div><div><br /></div><div>Yes, I drive "a Prius, eat organic and support wilderness preservation." I also am an optimist and believe strongly in humanity. Perhaps we/I stay, at least in part, because if we can come together here in Phoenix to implement plans that promote ecological sustainability, social justice, and economic stability, we can do this anywhere. Many people speak of creating an oasis in the desert relative to development in and around cities like Phoenix. But an oasis in the desert can often be a mirage. We should instead seek to develop a city that is more like the Sonoran Desert itself - diverse, resilient, and able to sustain life on limited water.&nbsp;</div><div><br /></div><div>Perhaps Phoenix is the perfect place for an optimist looking to make a difference.</div><div><br /></div> ]]>
        
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</entry>

<entry>
    <title>Occupying Gender in the Singular Plural</title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/blog/2012/01/occupying-gender-in-the-singular-plural.php" />
    <id>tag:www.socialtextjournal.org,2012:/blog//10.1766</id>

    <published>2012-01-27T07:00:29Z</published>
    <updated>2012-01-27T18:21:41Z</updated>

    <summary>Call me a sissy, but I&apos;ve never particularly cared for being referred to as cisgender. Still, the work of transgendered activists within Occupy Wall Street has been one of things that keep me optimistic. At a November 13th teach-in at Zuccotti Park, just days before the brutal eviction, trans activists took over the people&apos;s mic for an hour-long lesson in occupying gender, educating their non-trans listeners on the unearned privileges we enjoy whenever we conform to ascribed gender; outlining the work that groups like the Sylvia Rivera Law Project have long been engaged in, against police violence and medical pathologization; and outlining pragmatic and principled tactics for an occupation open to trans and cis-gendered people alike.</summary>
    <author>
        <name>Tavia Nyong&apos;o</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=10&amp;id=3</uri>
    </author>
    
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    <category term="justinvivianbond" label="Justin Vivian Bond" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="occupygender" label="Occupy Gender" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="occupywallstreet" label="occupywallstreet" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en-US" xml:base="http://www.socialtextjournal.org/blog/">
        <![CDATA[<div><br /></div><div><iframe width="560" height="315" src="http://www.youtube.com/embed/JzuEP3RQGRc" frameborder="0" allowfullscreen=""></iframe><div><font class="Apple-style-span" style="font-size: 0.8em; "><br /></font></div><div><font class="Apple-style-span" style="font-size: 0.8em; ">Re-posted from <a href="http://bullybloggers.wordpress.com/">Bully Bloggers</a></font></div><div><br /></div><div>Call me a sissy, but I've never particularly cared for being referred to as <a href="http://queersunited.blogspot.com/2008/08/cisgender-privilege-checklist.html">cisgender</a>. Still, the work of transgendered activists within Occupy Wall Street has been one of things that keep me optimistic. At a November 13th <a href="http://outfm.org/index.php?option=com_content&amp;view=article&amp;id=120:trans-forming-occupy-wall-street&amp;catid=34:feedburner">teach-in at Zuccotti Park</a>, just days before the brutal eviction, trans activists took over the people's mic for an hour-long lesson in occupying gender, educating their non-trans listeners on the unearned privileges we enjoy whenever we conform to ascribed gender; outlining the work that groups like the Sylvia Rivera Law Project have long been engaged in, against police violence and medical pathologization; and outlining pragmatic and principled tactics for an occupation open to trans and cis-gendered people alike.</div><div><br /></div><div>The teach-in ended with a song by <a href="http://justinbond.com/">Justin Bond</a>, who has charted a post-Kiki and Herb career as a singer-songwriter in the tradition of Judy Collins and Joni Mitchell. Between releasing the 2009 EP <i>Pink Slip</i> and last year's full length album <i>Dendrophile</i>, Bond has adopted the middle name Vivian, begun to transition, and chosen the pronoun V to represent this new stage of life. Bond's OWS appearance took what a therapeutic and individualistic culture calls "finding one's voice" and performed it against the affective grain.</div><div><br /></div><div><img alt="justin vivian bond.jpg" src="http://www.socialtextjournal.org/blog/justin%20vivian%20bond.jpg" width="405" height="270" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" /></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; ">Justin Vivian Bond performing "The New Economy" at Occupy Wall Street</font></div><div><br /></div><div>The pronoun V, and accompanying honorific Mx., occupy a linguistic elsewhere to binary gender, an elsewhere that Bond's memoir, <a href="http://www.amazon.com/Tango-Childhood-Backwards-High-Heels/dp/1558617477/ref=sr_1_4?s=books&amp;ie=UTF8&amp;qid=1327171169&amp;sr=1-4">Tango</a>, makes clear V has resided in since childhood. Tango is not a narrative of being trapped in the wrong body, however, but only of being trapped in the wrong society, and Mx. and V are linguistic foils with which to parry that society's imprecations.</div><div><br /></div><div>Such singular departures from accepted usage antagonize those who assume that they represent instances of <i>amour propre</i>. But coming from a Quaker tradition that rejects the second person plural "you," and holds onto the archaic singular forms of "thee" and "thou," I understand the purpose such speech acts serve. Much like the Society of Friends verbally resist the hierarchical, royal we, Bond's neologisms dispel the ease with which binary gender preoccupies the ordinary. These dissenting gestures trust that the lateral bonds of the common can sustain the twists and torsions they exact. They are a kind of sit-down in grammar, a linguistic and literary demand to be served as we are, not according to how we are seen, surveilled or counted. They disrupt common sense in order to find a commons.</div><div><br /></div><div><iframe width="420" height="315" src="http://www.youtube.com/embed/1n62VpbvwF8" frameborder="0" allowfullscreen=""></iframe></div><div><br /></div><div>The song Bond performed at OWS was "The New Economy," with it's pugnacious opening lines "They say it's a new depression, so why am I filled with glee? Everybody coming down quickly, now they can all join me." Glee is an affect that a certain television show has made ubiquitous in recent years, but it is not often associated with the style of OWS. Bond took glee and detached it from the ethos of aspirational participation and the compulsion to please, and restored its disaffective and disaffiliative charge. Bond was, by Vs own account, homeless at the time of the December performance, having <a href="http://justinbond.com/?p=748">lost an East Village apartment to gentrification's wrecking ball</a>. But the glee Mx. performed was not <i>schadenfreude</i> but an invitation to queer conviviality, a living and breathing together in conspiratorial difference, a new economy of bodies and affects pitched toward the ethic, as V sang, of "take what you need and give a little back."</div><div><br /></div><div>I think it matters that a trans person delivered this communist message, insofar as the grain of Vs voice reinflected the conventional rallying cry. Unison singing at rallies and marches, like pledges of allegiance, tend to be rites of assent: sentimental conflations of the one and the many. But the singular grain of Bond's voice, echoed through an enthusiastic crowd serving, sometimes with duty and sometimes with joy, as the human amplification system of the people's mic, defied the sincerity of singalong.</div><div><br /></div><div>This ability to perform the <a href="http://en.wikipedia.org/wiki/Jean-Luc_Nancy#.C3.8Atre_singulier_pluriel">singular plural</a>, occupying gender without staking a representative claim of speaking as or for any particular position in or betwixt a binarism, leads me to the question I am dwelling with these days. The banal version of this is the journalistic question: if OWS is a new movement, where are its songs? The question betrays a nostalgia for the 60s that was initially helpful in getting people to take OWS seriously at all, but which now presents an obstacle to the emergence of what is new and different about this moment. I want to speculate just a little about what that emergent sound might be.</div><div><br /></div><div>People are having a field day redescribing the occupation in the preferred jargon of their fields and professions. So why not me? Occupation is a performative: it doesn't so much represent the 99% as it conjures that figure into being as a speculative object of public attachment. This feeling for numbers is non-majoritarian and post-democratic insofar as it expresses a anarchist and antinomian preference for consensus decision making over majoritarian and electoral process. Excluding the 1% certainly articulates a healthy and appropriate smash the rich mentality. But the Lacanian in me also sees the 1% as yet another stand in for <i>object a</i>, the irreducible antagonistic remainder around which the social composes, and which is forever decomposing it. After all, wouldn't claiming to speak as or for the 100% be fascism?</div><div><br /></div><div>99% is a multitude composed out of antagonism, not identity. Taking what they needed, and giving a little back, the transgender activists reminded those who would hear that cis privilege is not restricted to the 1%, but a necessary fractures within occupation just as other divisions of race, citizenship, and class are. Trans and queer glee become part of the affective work of occupation, not so that occupation can become more inclusive or safe, but in order to keep those minor feelings quilted into the banners and broadsides of the many, both as a formal reminders of precarious bonds that stitch us together, and as an audio analogue of those <a href="http://press.uchicago.edu/ucp/books/book/chicago/T/bo10184159.html">visible seams</a>.</div><div><br /></div><div><i>A version of this blog post was presented at the MLA 2012 roundtable, "<a href="http://supervalentthought.com/2011/12/09/affect-theory-roundtable-questions-mla-2012-authors-lauren-berlant-ann-cvetkovich-jonathan-flatley-neville-hoad-heather-love-jose-e-munoz-tavia-nyongo/">Affecting Affect</a>." Thanks to Lauren Berlant for organizing that occasion.&nbsp;</i></div> </div>]]>
        
    </content>
</entry>

<entry>
    <title>Speculative Life: An Introduction</title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/periscope/2012/01/speculative-life-introduction.php" />
    <id>tag:www.socialtextjournal.org,2012:/periscope//6.1756</id>

    <published>2012-01-04T06:11:00Z</published>
    <updated>2012-01-21T20:03:30Z</updated>

    <summary>In our dystopian present, the term speculation is associated with an epistemology of greed, a sanctioned terrorism, and a new dimension of imperialism no longer based in production but in abstract futures. But speculation means something else for those who refuse to give its logic over to power and profit. </summary>
    <author>
        <name>Jayna Brown</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=6&amp;id=165</uri>
    </author>
    
        <category term="Speculative Life" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="capitalism" label="capitalism" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="criticalracetheory" label="critical race theory" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="queerstudies" label="queer studies" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="sciencefiction" label="science fiction" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="speculation" label="speculation" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.socialtextjournal.org/periscope/">
        <![CDATA[ <div><br /></div><div><div>In our dystopian present, the term <i>speculation</i> is associated with an epistemology of greed, a sanctioned terrorism, and a neo-imperialism organized around the capture of abstract futures and the subjugation of transnational labor forces. Financial speculators gamble with everyone's lives, and our times would seem to foreclose on any future at all for many.</div><div><br /></div><div>But speculation means something else for those who refuse to give its logic over to power and profit. To speculate, the act of speculation, is also to play, to invent, to engage in the practice of imagining. And, as Ernst Bloch said, it may be in our imaginative worlds that we catch glimpses of utopian possibility beyond our present paradigm. At a moment when so many have been struggling to enact alternatives to the depressing world produced by Wall Street's speculative failures, we need to practice imagining now more than ever.</div></div><div><br /></div><div><img alt="collosus.png" src="http://www.socialtextjournal.org/periscope/collosus.png" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" height="400" width="309" /></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; ">Imperial Speculation: The Rhodes Colossus from <i>Punch, or the London Charivari</i>, December 10 1892.</font></div><div style="text-align: center;"><br /></div><div style="text-align: left;">Speculation accompanies the idea of Progress, as speculative capitalist excursions in the 18th and 19th centuries carried traders, settler colonialists and scientists alike. The alien races knew what it meant to be discovered and traded by these speculators; they understood what the underside of Progress felt like. The racialized, the queer, the deviant, the poor, all knew what it meant to be scrutinized with the same classificatory instruments. Many of the alienated have always known what a seemingly futureless horizon looks like, and may not be as shocked to find that, as Bifo reminds us "we can no longer think the flow of time within a frame of progressive becoming" (126).&nbsp;Some who have been fractured, erased, dislocated, have long created futures, as Sun Ra did, "on the other side of time" (Space is the Place).</div><div style="text-align: left;"><br /></div><div style="text-align: left;">The contributors to this Periscope trace awesome futures in science (and other speculative) fictions and expressive arts. They explore weirdly alter-dimensional universes, bodily incarnations with enhanced sensory abilities, and revolutionary forms of intimacy and interdependence. Many of these pieces also critique the erasures, exclusions, and failures of speculative cultural production. "If science fiction has any use at all," writes Samuel R. Delany, "it is that among all its various and variegated future landscapes it gives us images for our futures ... And its secondary use ... is to provide a tool for questioning those images, exploring their distinctions, their articulations, their play of differences" (35). These pieces do more than celebrate speculative imaginings and alternative potentialities. The discussions of literary, visual and aural speculation collected here do not simply affirm or advocate for particular agendas, or concern themselves with blueprints for a perfect world. Yet they all consider speculation as the crucial enactment of the impossible.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><img alt="triton.png" src="http://www.socialtextjournal.org/periscope/triton.png" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" height="575" width="340" /></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; ">Speculative fiction: <i>Triton</i> by Samuel R. Delany. 1976.</font></div><div style="text-align: left;"><br /></div><div style="text-align: left;">The reach and range of speculative exploration goes beyond a simple politics of subjecthood, that is, with a humanist concern with the restoration or reclamation of the sovereign self, or whole and normalized human. It goes beyond a "yearning for human rights, a struggle for inclusion within the human species" (Eshun, 00[-006]).&nbsp;The stability of the human no longer holds in the biological sciences, where in the early 21st century the molecularization of life has led to an epistemological change in our understandings of 'life itself' (Rose, 15-16).&nbsp;Biotechnology is changing what it means to be human, and speculative imaginaries may release us from the need for humanist recognition.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Science fictions play with, ignore and often presage developments in biological science. They offer us much freer reign in these shifts of biological understanding. For a start, they can loosen these scientific explorations from their moorings in capitalist economic, military and corporate interests and instead create fantastically anomalous ontologies. Kodwo Eshun writes that speculations can come in the form of expression from the "Outer Side." With his examples the work of musicians including Alice Coltrane and Sun Ra and Tricky and Martina, such expression "alienates itself from the human. It arrives from the future." "The human," he concludes, "is a pointless and treacherous category" (00[-006] -- 00[-005]).&nbsp;</div><div style="text-align: left;"><br /></div><div style="text-align: center;"><img alt="tricky.png" src="http://www.socialtextjournal.org/periscope/tricky.png" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" height="350" width="325" /></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; ">Aural speculation: Tricky</font></div><div><br /></div><div>Instead of universal truths and a stable universe, speculations inhabit a breach, a space of disobedience, of awe -- the locus of which is a "radical quotidian sublime," as China Miéville put it during his interview in this collection.&nbsp;</div><div><br /></div><div>The pieces gathered here offer a variety of iterations of a radical, quotidian sublime in modes of speculation other than those of capital and progress. For Jayna Brown, it is to be found in embodied sensations between madness and sanity; for Moya Bailey, in critical negotiations with Octavia Butler and Janelle Monáe's speculative depictions of power, ability and interdependence. In Alexis Lothian's essay it appears in the transformations that readers of Samuel R. Delany's queer speculative histories might encounter and perform -- a prospect continued in Tamara Ho's unpacking of Larissa Lai's hybrid, poly-species beings, alternate processes of xenogenesis and queer forms of kinship. Alex Weheliye and Tavia Nyong'o engage with speculations that confront the negativity of the present: Weheliye explores global regimes of racial oppression and the formation of 'bare life' in the works of the musical artist MIA, yet shows us how the seeming cliche of a racial allegory can transform into speculative "agitprop." Similarly, Nyong'o demonstrates that even the most commodified of bodies, the cyborgs of the <i>Battlestar Galactica</i> TV remake, have the potential to illuminate the complexities of transgression and domination and question the sanctity of the human.&nbsp;</div><div><br /></div><div>Our interview with China Miéville takes up questions of the relationship between politics and science fiction, the meanings of the monster and questions of the colonial encounter in a genre formed during the halcyon days of imperialist conquest. Elizabeth Turgeon and Andrea Hairston continue this focus on colonialist power relations, engaging with ways speculative histories and futures can both challenge and buttress settler colonialism in the aftermath of genocide. Turgeon reminds us of the ways liberal speculative fictions can reinforce the foreclosure of Native futures, demanding their replacement with the full range of futures and presents. And Hairston draws together themes from many of the essays through speculations on performance, dance, fiction, and media that repudiate a disembodied, capitalized, imperial vision of the future.&nbsp;</div><div><br /></div><div><img alt="pumzi.png" src="http://www.socialtextjournal.org/periscope/pumzi.png" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" height="233" width="350" /></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; ">New African speculative cinema: <i>Pumzi</i>. Dir Wanuri Kahiu, 2009.</font></div><div><br /></div><div><br /></div><div><br /></div>]]>
        
    </content>
</entry>

<entry>
    <title>A Wilder Sort of Empiricism: Madness, Visions and Speculative Life </title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/periscope/2012/01/a-wilder-sort-of-empiricism.php" />
    <id>tag:www.socialtextjournal.org,2012:/periscope//6.1757</id>

    <published>2012-01-04T06:10:00Z</published>
    <updated>2012-01-11T16:44:38Z</updated>

    <summary>&quot;What will you do when the apocalypse comes??&quot; he asked me urgently. My first reaction was to laugh derisively. But a friend made me think twice. &quot;Who knows, maybe he&apos;s right,&quot; she said. Then came the Tsunami that devastated South Asia in 2004. And the levees that breached during Hurricane Katrina in 2005. Who&apos;s to say what&apos;s real?</summary>
    <author>
        <name>Jayna Brown</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=6&amp;id=165</uri>
    </author>
    
        <category term="Speculative Life" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="delany" label="delany" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="deleuze" label="deleuze" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="embodiment" label="embodiment" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="empiricism" label="empiricism" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="madness" label="madness" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="sensation" label="sensation" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="speculation" label="speculation" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.socialtextjournal.org/periscope/">
        <![CDATA[<div><div><br /></div><div>I have a relative who, after spending his twenties as a member of the Black Panther Party, fifteen years in hiding and some time in jail, then spent several years in nightly trances, channeling prophecy. His audio visions were primarily direct messages from a Native North American chief who lived 150 years ago. My relative renounced his African American identity, calling himself instead a Native American of African descent, and took a native name. The chief warned my relative of the final days before the apocalypse, and of the subsequent transformation of human life. As the result of racism, human greed and folly, the world as we know it, the chief told him, will be destroyed through economic disaster, fire, flood and earthquakes, but this cleansing redemption will be followed by a new age. Earth will be abandoned, as humans colonize other worlds. Capitalism will disappear. Computers will take over the role of the state, levying punishment and distributing resources. All vocal speech will disappear, replaced by extrasensory forms of communication. Scientists will take over the role of childcare and reproduction. Without the need for hierarchical power relations and systems of oppression, races and genders will cease to be relevant and disappear. Humans, the chief told my relative, will be visited by extraterrestrials in their sleep. These aliens have the ability to alter human DNA, and so will transform the human species. Physically and mentally enhanced, humans will evolve into a new species, thereby ushering in a new era of enlightenment.</div><div><br /></div><div>"What will you do when the apocalypse comes?" he asked me urgently. My first reaction was to laugh derisively. But a friend made me think twice. "Who knows, maybe he's right," she said. Then came the Tsunami that devastated South Asia in 2004. And the levees that breached during Hurricane Katrina in 2005. Who's to say what's real?</div><div><br /></div><div>Narratives of space travel and species evolution are often told in what appear to be fits of madness. For an afro futurist analysis, these narratives form a key mythology in black cultural philosophies. After all, black people's existence is mythological in the first place, as Sun Ra reminds us. We're not real. So what does this current plane of reality, also known as a mutually agreed upon fiction, mean to us anyway? And who mutually agreed upon it? Since we didn't seem to be asked, it would make perfect sense that we would be more in touch with/at home in other realities, other worlds which may be less violent and alienating. We might very well have extrasensory access to the spiritual afterlife, like my relative, or be open to other forms of existence, other forms of energetics, sonic and haptic, rather than visual or discursive. Even to inhabiting other bodies and physical manifestations.</div></div><div><div><br /></div><div>Though I could call my relative's madness afro futurist, I would do so without his permission. What his visions and some science fiction do is to theoretically estrange the notion of race, to think about what it would look like if the paradigm shifted, if power was no longer ordered through specious notions of racial, or gendered and sexual, difference. Science fiction is a literature of possibility, that sometimes contains recognizable figurations of such categories, sometimes features them reinscribed, or no longer carrying the same valence, and sometimes is free of familiar concepts of them entirely. Sometimes, as in the work of Octavia Butler, what remains are relations of power drawn along biological lines; ideas of indigeneity, mixing of species and alien DNA.</div><div><br /></div><div><div>I enjoy my own fits of madness, which draws me empathetically to other 'mad' women, like&nbsp;<a href="http://www.youtube.com/watch?v=5WKjCgrN6Y8" style="text-decoration: underline; ">June Tyson</a>, the voice of Sun Ra's Arkestra. &nbsp;</div><div><br /></div><div><img alt="June Tyson.png" src="http://www.socialtextjournal.org/periscope/June%20Tyson.png" width="432" height="270" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" /></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; ">June Tyson</font></div><div><br /></div><div>"It's after the end of the world, don't you know by now?" she asks. Or like Poly Styrene, who saw The Day the World Turned Dayglo.</div><div><br /></div><div><iframe width="420" height="315" src="http://www.youtube.com/embed/uoifB3e_ZhM" frameborder="0" allowfullscreen=""></iframe></div><div><br /></div><div>At eighteen Poly saw a vibrating pink UFO that electrified her body and she was subsequently committed to a mental hospital. Or like Janelle Monae, creator of the archandroid savior Cindi Mayweather.&nbsp;</div><div><br /></div><div><iframe width="420" height="315" src="http://www.youtube.com/embed/5s9iZFwUnqI" frameborder="0" allowfullscreen=""></iframe>&nbsp;</div><div><br /></div><div> In the song&nbsp;<a href="http://www.youtube.com/watch?v=pwnefUaKCbc&amp;ob=av3e" style="text-decoration: underline; ">Tightrope</a>&nbsp;Monae sings about madness and the salvific quality of dance in an old mental institution called the Palace of the Dogs.</div><div><br /></div><img alt="Janelle Monae.png" src="http://www.socialtextjournal.org/periscope/Janelle%20Monae.png" width="432" height="270" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" /><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; ">&nbsp; Janelle Monae, Palace of the Dogs</font></div><div><br /></div><div>
In my own madness, I wonder what may be possible in alter universes, what may lie "on the other side of time," in other dimensions, and how far we can go in imagining life on other terms. What are the ways we already practice these lives? What are the ways we can question or stretch what we consider human, the ways we are released and/or kept bound by raciologies and the relational dynamics out of which they germinate? Futures, alternate worlds, spell glimpses, or entire texts, in which we have a different assemblage of bodies altogether.</div></div><div><br /></div><div><div>Even traveling to other dimensions, I don't think we should leave the physical world behind. Bodies are the crucial ground for both dystopian and potentially liberatory projections, and some speculative visions bring the human into question in radical ways. Such narratives attempt to break with common sense notions of life and self, formed in the rubric of hierarchical oppressions. Ernst Bloch says, "in the utopian there is as much about reconstruction of the organism as much as there is....of the state." How are bodies inhabited and modified in these visions, and what range of potentialities are there? How can we think about life without supporting a universalist sense of being, which is to obscure recognition of the differing forms of relationship to life?</div><div><br /></div><div>What happens when we disaggregate the idea of individual identity from the concept of life itself? What if the concept of the self was fully dismantled? "A life has quite different features than those associated with the self-- the consciousness, memory, and personal identity," writes Deleuze. "It unfolds according to another logic: a logic of impersonal individuation rather than personal individualization...it is always indefinite...in contrast to the self, a life is 'impersonal and yet singular,' and so requires a 'wilder' sort of empiricism--a transcendental empiricism."<a href="#_ftn1" name="_ftnref1" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[1]</font></span></a> Taking this call for a wilder kind of empiricism may offer us a way to think outside of the hierarchical binary of zoe and bios, and conceive of a kind of life based in statelessness, collectivity, perception and sensation.</div><div><span class="Apple-tab-span" style="white-space:pre">	</span></div><div>Sensation is underrated. To feel is to be sentient, alive, to inhabit a body. Samuel Delany, in his novel <i>Nova</i>, imagines an instrument of "sensor projection," that stimulates not just the audio nerve but all of the senses. This instrument is called the syrynx. When it was played "colors sluiced the air with fugal patterns as a shape subsumed the breeze and fell, to form further on, a brighter emerald, a duller amethyst. Odors flushed the wind with vinegar, snow, ocean, ginger, poppies, rum....Electric arpeggios of a neo-ragga rilled."<a href="#_ftn2" name="_ftnref2" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[2]</font></span></a> &nbsp;</div><div><br /></div><div><img alt="Samuel R. Delany.png" src="http://www.socialtextjournal.org/periscope/Samuel%20R.%20Delany.png" width="270" height="374" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" /></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; ">Samuel R. Delany</font></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; "><br /></font></div><div>The syrynx seems to me a glorious instrument. Music, resonance, sounds we can't hear (as Steve Goodman argues in <i>Sonic Warfare</i>) combined perhaps with articulations of the body (dancing is what keeps her sane, says Janelle Monae) suggests other planes, portals to alternate worlds.</div><div><br /></div><div>I appreciate the ways my relative's trances, as well as some science fiction, engages in a "wilder sort of empiricism." I don't think these engagements need to be understood in the framework of the posthuman condition. Such chronological linearity implied by 'post' does not apply to beings who already exist in alternate time/space frames. What these imaginings often suggest instead is that such subjects, while excluded from the human, have an expanded capacity for life, in fact have always had access to worlds freed of regulatory terms of humanness. Alienated, alien non-subjects have particular access to not just go to, but to define other states of beingness.&nbsp;</div></div><div><br /></div></div><div><i>Top image: June Tyson, still from </i><a href="http://www.youtube.com/watch?v=5WKjCgrN6Y8">A Joyful Noise</a><i> (1980)</i></div>]]>
        
    </content>
</entry>

<entry>
    <title>Vampires and Cyborgs: Transhuman Ability and Ableism in the work of Octavia Butler and Janelle Monáe</title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/periscope/2012/01/vampires-and-cyborgs-transhuman-ability-and-ableism-in-the-work-of-octavia-butler-and-janelle-monae.php" />
    <id>tag:www.socialtextjournal.org,2012:/periscope//6.1758</id>

    <published>2012-01-04T06:09:00Z</published>
    <updated>2012-01-07T00:24:34Z</updated>

    <summary> The afrofuturist dystopic visions of Octavia Butler and Janelle Monáe tip on the tightrope of critical disability studies through the possibilities and limitations they reveal for post-human bodies. In Butler&apos;s speculative fiction, disabled characters are gifted with transhuman abilities that...</summary>
    <author>
        <name>Moya Bailey</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=6&amp;id=701</uri>
    </author>
    
        <category term="Speculative Life" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="disability" label="Disability" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="janellemonáe" label="Janelle Monáe" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="octaviabutler" label="Octavia Butler" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="race" label="race" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.socialtextjournal.org/periscope/">
        <![CDATA[<div> </div><div>The afrofuturist dystopic visions of Octavia Butler and Janelle Monáe tip on the tightrope of critical disability studies through the possibilities and limitations they reveal for post-human bodies. In Butler's speculative fiction, disabled characters are gifted with transhuman abilities that are also impairments, making them hypervisible vulnerable targets of violence. Ableism in her texts is both challenged and reinforced by narratives that value interdependence yet punish through impairment. Genre defying musician Janelle Monáe enacts the same duality in her own work. In her first album-length project, Monáe explores cyborg identity and uses schizophrenia as a metaphor for freedom. She embraces her "crazy," but her liberal use of the term, along with the equally contested appellation "schizo," fosters an ambivalent reception to the disability justice content in her work.&nbsp;</div><div><br /></div><div>Disclaimer: I love Janelle Monáe and Octavia Butler with a deep unbridled passion! That said, I'm not objective. I am interrogating my love by examining the elements of their work that are hardest to hold.&nbsp;</div><div><br /></div><div><img alt="Octavia Butler.png" src="http://www.socialtextjournal.org/periscope/Octavia%20Butler.png" width="299" height="168" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" /></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; ">Octavia Butler</font></div><div><br /></div><div>Science fiction writer Octavia Butler's last novel before her untimely and strange passing capitalized on the resurgence of vampire lore in US popular culture. In <i>Fledgling</i>, the lead protagonist is Shori, a vampire with amnesia and unusually dark skin for her species. She is the result of genetic experiments designed to allow the Ina, as they call themselves, to live in daylight. She is a celebrated vision of the future and an equally hated marker of blood impurity.&nbsp;</div><div><br /></div><div>Ina cannot assume the rugged individualism and autonomy that American culture values. Instead Ina society is interdependent, with trans-species relationships a necessity. Ina depend on their human symbionts, who are both lovers and blood supply, for survival -- not only for food but also to help them stay out of the sun. In articulating the <a href="http://leavingevidence.wordpress.com/2010/01/22/interdependency-exerpts-from-several-talks/" target="_self" title="Disability justice activist Mia Mingus describes interdependency">interdependence</a>&nbsp;of vampires and humans, their shared emotional and physical care of one another, Butler offers a critique of racism and ableism in our world. In a moment of revelation, Shori notes that Ina need humans in ways humans do not need Ina, troubling Ina assertions of superiority over their human lovers. Butler queers the traditional master/slave colonizer/colonized narrative by exposing the multi-level dependence of Ina on humans, as well as troubling the idea that a nuclear and individual model of family is best.&nbsp;</div><div><br /></div><div>Like a tomato with fish DNA, Shori is a controversial GMO success story. She is a being that calls into question who and what "Ina" means. This attempt to improve the living conditions of the species through daylight existence triggered racial purists to try to kill Shori and her family. One of the Ina responsible for Shori's family's death is sentenced to the traditional punishment of a painful dismemberment from which she will take years to recover. The character's temporary disability constructs impairment as a punishment for bad behavior. It makes disability into a personal problem for those who have done something wrong, which in turn makes organizing for a more accessible world less important. Butler affirms the value of connection through interspecial relationships yet also works against interdependence through genetic modification.</div><div style="text-align: -webkit-auto;"><br /></div><div><img alt="ArchAndroid.png" src="http://www.socialtextjournal.org/periscope/ArchAndroid.png" width="275" height="275" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" /></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; "><i>ArchAndroid </i>Album Cover</font></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; "><br /></font></div><div>Like Butler, Janelle Monáe is interested in the transhuman possibilities of the body. Her alter ego, Cindi Mayweather, is an android from the distant future who does the impossible: falls in love with a human. This taboo animates a droid army to hunt and destroy her. Monáe's album <i>The ArchAndroid</i> is the rock opera of Mayweather's life on the run. As she attempts to remain true to her feelings, she struggles with the perceptions of the power structure who see her as wild, unstable, and crazy as she flouts the conventions of an ableist and human-centered world. Her body, like Shori's is a threat to the conventions of her community, troubling the meticulously maintained division of man and machine.</div><div><br /></div><div><i>The ArchAndroid</i> provides a window into Cindi Mayweather's experience. The track "Faster" highlights her escape from the Droid Army. The invocation of the ableist slur <a href="http://manifestfreedom.wordpress.com/2010/07/31/there-are-no-" schizos"-in-metropolis="" "="" target="_self" title="blogger Alicia Sanchez Gill discusses the ableism of the term " schizo""="">"schizo"</a> is supposed to be liberatory. She is talking about running for freedom, and schizophrenia is representative of the liberation she hopes to achieve. She sings: "I'm running, I'm running, running, running. I'm shaking like, shaking like a schizo." Similarly, in the track <a href="http://www.youtube.com/watch?v=dLiaY2bu1aw">"Alive"</a> Monáe makes schizophrenia a metaphor for heightened consciousness. In reference to dance, she sings "That's when I come alive, like a schizo running wild, that's when I come alive, now let's go wild!" If you've seen a Monáe live show, she does, as the kids say, "go off," with dance moves that rival James Brown in their explosiveness. It is when Cindi feels most alive that society, in the form of medication, the droid army and institutional pressure, tries to squelch her boundary-breaking expression by forcing her to conform to an unanimated norm. Monáe's critique is powerful but the sting of words that support ableism remains.</div><div><br /></div><div><iframe src="http://player.vimeo.com/video/19032638?title=0&amp;byline=0&amp;portrait=0" width="400" height="265" frameborder="0" webkitallowfullscreen="" mozallowfullscreen="" allowfullscreen=""></iframe><p><a href="http://vimeo.com/19032638">Janelle Monae Feat. Big Boi - Tightrope</a> from <a href="http://vimeo.com/user5802088">Fred Romano</a> on <a href="http://vimeo.com">Vimeo</a>.</p>&nbsp;</div><div>The video for "Tightrope" portrays Monáe and fellow institutionalized patients trying to break free of the repressive watchful eye of the powers that be through dance and song. She goes through walls and into the woods to escape those who would limit her expression. The video provides a visual critique of the ways in which disability is policed through showing the nurse's attempts to medicate and thwart the revolutionary dance party of the patients. The audience is privy to the soul-crushing nature of the institution and we delight in the patients' stolen moments of freedom of expression in dance, their <a href="http://blog.cripchick.com/archives/6371" target="_self" title="brief description by blogger Cripchick of Tightrope video">powerful and uncontrollable</a> hidden magic exposed.</div><div>&nbsp;</div><div>For Butler and Monáe, transhuman disabled bodies offer possibility and freedom that simple humanity forecloses. Monáe's use of disability as metaphor supports her alter ego's search for a freedom in a world much like our own. However, by reducing disability to metaphor and by using ableist language, the real lives of disabled people are obscured. Butler's depiction of Shori's hybrid body serves as a flash point for eugenic impulse, allowing an investigation of the deep seated racial prejudices of our time. However, punishing characters through impairment makes disability into retribution, a just sentence for wrongdoing in an ableist world that doesn't make accommodations for people who need them. Butler and Monáe open up conversations about disability that are messy and fraught, but they do so in arenas that traditional disabilities studies scholarship neglects.</div><div><br /></div> ]]>
        
    </content>
</entry>

<entry>
    <title>Speculating Queerer Worlds</title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/periscope/2012/01/speculating-queerer-worlds.php" />
    <id>tag:www.socialtextjournal.org,2012:/periscope//6.1759</id>

    <published>2012-01-04T06:08:00Z</published>
    <updated>2012-01-12T20:09:52Z</updated>

    <summary>Science fictions never present the future, only &quot;a significant distortion of the present,&quot; as Delany wrote in 1984. But they also distort the present of anyone reading at any time, even the text&apos;s own future. The contours of Dhalgren&apos;s disintegrating city belong to the wake of 1960s countercultures and social movements, to a sexual and racial moment whose history uninformed new generations of readers will learn as they read, even if they fail to recognize it. Sexual pleasure in Delany&apos;s work links the past and present and lets a different future feel possible, even when it takes place within structuring limitations. </summary>
    <author>
        <name>Alexis Lothian</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=6&amp;id=693</uri>
    </author>
    
        <category term="Speculative Life" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="delany" label="delany" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="futurity" label="futurity" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="queertheory" label="queer theory" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="speculation" label="speculation" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.socialtextjournal.org/periscope/">
        <![CDATA[<blockquote class="webkit-indent-blockquote" style="margin: 0 0 0 40px; border: none; padding: 0px;"><div><i><br /></i></div><div><i>Let</i> me ask the terrible question: Could it be that all those perfectly straight, content-with-their-sexual-orientation-in-the-world, exclusive-heterosexuals really are (in some ill-defined, psychological way that will ultimately garner a better world) more healthy than (gulp...!) us? Let me answer: No <i>way</i>!<a href="#_ftn1" name="_ftnref1" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[1]</font></span></a> </div></blockquote><div><br /></div><div>I first read this passage, buried deep in Samuel R. Delany's mammoth 1974 science fiction novel <i>Dhalgren</i>, at an impressionable age. After days or weeks or months wading through a strange textual universe populated by social and sexual deviants whose connections and epiphanies and great sex I didn't entirely understand but didn't want to look away from, it occurred to me that this weird world might not be entirely separate from the one I inhabited when I looked up from my book. On the one hand, it suggested an "us" out there neither straight nor contented with sexual orientations and their meanings in the world. On the other, it offered a new view on ways in which my surroundings already failed to live up to the straight rendering of what "a better world" might be. Disappointments transfigured to electric possibilities.</div><div><br /></div><div>Science fictions never present the future, only "a significant distortion of the present," as Delany wrote in 1984.<a href="#_ftn2" name="_ftnref2" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[2]</font></span></a> But they also distort the present of anyone reading at any time, even the text's own future. The contours of <i>Dhalgren</i>'s disintegrating city belong to the wake of 1960s countercultures and social movements, to a sexual and racial moment whose history uninformed new generations of readers will learn as they read, even if they fail to recognize it. Sexual pleasure in Delany's work links the past and present and lets a different future feel possible, even when it takes place within structuring limitations.&nbsp;</div><div><br /></div><div>The protagonist of <i>Dhalgren</i> says: "<i>it is not that I have no future. Rather it fragments on the insubstantial and indistinct ephemera of now</i>."<a href="#_ftn3" name="_ftnref3" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[3]</font></span></a> The kinds of futures that Delany's queer science fictions craft force us to recognize that living without a future is a not uncommon mode of being. The origins from which speculative imaginations lead us to deviate are not homogeneous, not predictable, and not easy to throw away. The people around whom <i>Dhalgren</i>'s world centers are not the white male bodies on whose basis most of science fiction's futures have been envisioned, but individuals from racialized populations more commonly figured as anonymous builders or human material backgrounded in dominant futurities. Queer characters have constant, unashamed sex that bears little relationship to reproductive futurism (even when individual sex acts are heterosexual). Yet in its speculative force, the writing remains committed to crafting and creating futures. They suggest how queer the world could feel even with a continual presence of racialized inequality, economic failure, and other material differences within alternative or futuristic possibilities. The queer future is not no future, but it is also not utopian, not a simple case of linear progress, of a world steadily getting better. Being led, through fictionalized speculation, away from the presumptions and regulations of dominant space and time opens up a different set of futures and worlds.</div><div><br /></div><div>Queer worldmaking speculation doesn't only happen in classic works of queer afrofuturistic postmodernism. But I am far from the only reader who fell into this particular novel and emerged changed by an explosion of speculative possibilities. Delany states that in writing <i>Dhalgren</i> his intention was emphatically not to provide "a sympathetic portrayal of the social problems of those who deviate sexually from the social norm," but rather to "completely subvert ... the entire subtext that informs a discourse of 'social problems/sympathetic/sexual deviate/normal' in the first place."<a href="#_ftn4" name="_ftnref4" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[4]</font></span></a> The novel doesn't only insist that those who cannot fit themselves into the scripts of normative sex and sociality can be happy and functional despite their disadvantages; it rescripts the world to revolve around them. And so it has rescripted its readers. Novelist Nalo Hopkinson writes that "[w]hen [she] read Delany's novel <i>Dhalgren</i> at about twenty-two years old, it blew [her] brain apart and reassembled the bits."<a href="#_ftn5" name="_ftnref5" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[5]</font></span></a> Critic Ann Weinstone discovered there "a companion world," at "a moment in queer adolescence" of feeling "condemned to live alone."<a href="#_ftn6" name="_ftnref6" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[6]</font></span></a> The novel even gave its name to an early online worldmaking experiment, <a href="http://www.mentallandscape.com/Dhalgren.htm">DhalgrenMOO</a>. I write shortly after returning from <a href="http://wiscon.info/">a feminist science fiction convention</a>: a conflicted, complicated, and fabulously nerdy hub for people who are writing and otherwise imaginatively creating queer speculative futures and other dreams. In that physical space and its virtual corollaries as well as in the possibilities created in cultural production, the worldmaking work of conflicts, of sexual and social contact, of forms of life that unhinge expectations of the world as it is and of what it means to hope that we can make it better, take root in practices of living and thinking and writing that speculate queer worlds in all kinds of possible and impossible ways.</div><div><br /></div><div>Queer speculations are neither obvious nor predictable, and are difficult to list. Tied down too clearly into individual or collective life narratives, they run the risk of resembling Dan Savage's unimpeachably well-intentioned <a href="http://www.itgetsbetter.org/">It Gets Better Project</a>: an informative example of what queer worldmaking speculation is not. Inspired by a lament that "[m]any LGBT youth ... can't imagine a future for themselves," Savage urged gay adults to "show" teens "what the future may hold in store for them" via online video (and now a book). Embedded in Savage's marital bliss, in everyone's hearty endorsement of the way their lives are turning out, is an insistence that growing up is all you need to overcome the social problems that being gay provokes: you too can be content with your sexual orientation in the world, can be sympathetic and normal. Just embrace your destiny as a cog in liberal, multicultural American society and overlook the rest of the world's catastrophic failings. For scholars and activists seeking a different definition of a better or livable life, the speculative idea of <i>making a queer world</i> broadens the meaning of what better futures for queers can signify. I am interested in the experiences of encounters with queer speculative fiction, in the communities and subcultures and interactions that grow up around it, because they suggest how nonrealistic narratives expand what queer worlds can be, what they already are, offering more than a narrow and repetitive script where a queer child escapes from a restrictively heteronormative upbringing in order to slightly broaden the constraints against which the next generation will be doomed to chafe.&nbsp;</div><div><br /></div><div>The continuing power of Delany's science fiction demonstrates decades-old alternatives to the liberal progress narratives that seek to tell us "it gets better." Instead, we can contemplate how it might get queerer and how queer things might always have been -- without losing sight of imperatives to make individual LGBT lives better in the world as it is. Speculative fictions are one set of places to find prospects for worlds differently oriented toward norms and bodies. Before gay futures could be celebrated for their resemblance to straight ones, speculative fiction had begun to enact a queer set of futurities and possibilities that are still timely, still necessary, still to be surpassed. None of this is to say that Delany or any other writer has crafted a blueprint for the best possible queer-friendly world; a living engagement with speculative fiction's futures doesn't require that any one be perfect. It's enough that there are dreamed-up worlds to tentatively, transformatively, joyfully step inside.&nbsp;</div><div><br /></div><div><img alt="Bellona.png" src="http://www.socialtextjournal.org/periscope/Bellona.png" width="375" height="281" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" /></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; "><a href="http://lislegaard.com/?p=220">Bellona (After Samuel R. Delany). Installation by Ann Lislegaard, 2005.</a></font></div><div><br /></div><div><i>Alexis Lothian is a scholar of queer cultural studies, speculative fiction, and digital media. She is putting the final touches on her dissertation, </i>Deviant Futures: Queer Temporality and the Cultural Politics of Science Fiction<i>, and will receive her PhD in English from the University of Southern California in 2012. She is a founding member of the editorial team for </i>Transformative Works and Cultures<i> and has presented and published on science fiction literature and media and on fan video, including contributions to recent dossiers in </i>Cinema Journal<i> and </i>Camera Obscura<i>. Her website is <a href="http://queergeektheory.org">http://queergeektheory.org</a>.</i></div><div><i><br /></i></div><div><i><br /></i></div><div><i>Top image:</i> Dhalgren <i>by Samuel R. Delany. 1974. Cover image by flickr user cdrummbeaks.</i></div><div><br /></div> ]]>
        
    </content>
</entry>

<entry>
    <title>Larissa Lai&apos;s &quot;New Cultural Politics of Intimacy&quot;: Animal. Asian. Cyborg.</title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/periscope/2012/01/larissa-lais-new-cultural-politics-of-intimacy-animal-asian-cyborg.php" />
    <id>tag:www.socialtextjournal.org,2012:/periscope//6.1760</id>

    <published>2012-01-04T06:07:00Z</published>
    <updated>2012-01-12T20:11:40Z</updated>

    <summary>Chinese-Canadian author Larissa Lai imaginatively interrogates the boundaries of the human, alchemizes myths of origin, and embraces the impurity of the cyborg while foregrounding the politics of racialization, animality, and sexuality. Lai builds on the rich tradition of women of...</summary>
    <author>
        <name>Tamara Ho</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=6&amp;id=703</uri>
    </author>
    
        <category term="Speculative Life" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="larissalai" label="larissa lai" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="simian" label="simian" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="speculation" label="speculation" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.socialtextjournal.org/periscope/">
        <![CDATA[<div><br /></div><div>Chinese-Canadian author <a href="http://www.larissalai.com/">Larissa Lai</a> imaginatively interrogates the boundaries of the human, alchemizes myths of origin, and embraces the impurity of the cyborg while foregrounding the politics of racialization, animality, and sexuality. Lai builds on the rich tradition of women of color writing in sf/speculative fiction by splicing together cultural theory and current events with a panoply of intertexts. Traversing past, present, and future, Lai maps the permeability of the human through the vectors of animal, creator-goddess, cyborg, and transgenic procreation. Her distinctive métissage of Chinese legend, EuroAmerican culture, Orientalist archetypes, Western popular music, and science fiction disrupts cycles of institutionalized exploitation, corporatized amnesia, and multicultural assimilation.<a href="#_ftn1" name="_ftnref1" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[1]</font></span></a> Akin to the work of Octavia Butler, Karen Tei Yamashita, and Nalo Hopkinson, Lai's fiction and poetry expand "our sense of relation, our sense of community, with other human beings but also with the lifeworld that surrounds us...[to be] as rich, complicated and hopeful as it can possibly be."<a href="#_ftn2" name="_ftnref2" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[2]</font></span></a> Her "fictive histories of the present" craft a counterhegemonic site of belonging for minoritized, queer, polymorphous subjectivities and articulate a "new cultural politics of intimacy."<a href="#_ftn3" name="_ftnref3" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[3]</font></span></a> &nbsp;</div><div><br /></div><div>Lai's first novel <i>When Fox Is a Thousand</i> (1995) introduces her project of sinicizing Adrienne Rich's lesbian continuum. Lai uses the fox, a Chinese trickster figure, to illuminate "women's alliances, sexual and otherwise.... there beneath the surface, between the lines."<a href="#_ftn4" name="_ftnref4" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[4]</font></span></a> &nbsp;Crossing time and space, the fox "animates" the corpses of women in order to seduce other humans. One of fox's favored bodies is that of <a href="http://etext.lib.virginia.edu/chinese/yu/">Yu Hsuan-Chi/Yu Xuanji</a>, a ninth century poetess-courtesan who was executed for murder. These legendary figures anchor Lai's exploration of the politics of desire and seduction across temporalities and geographies. Embracing the fox's reputation as a border-crossing "creature of darkness, death, germination, and sexuality" associated with the subterranean, the feminine, and the <i>yin</i>, Lai creates a symbol of "Asian women's community and power" and an anti-racist "trope of lesbian representation."<a href="#_ftn5" name="_ftnref5" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[5]</font></span></a> (see Figure 1)</div><div><br /></div><div><img alt="Fox, thousand.png" src="http://www.socialtextjournal.org/periscope/Fox%2C%20thousand.png" width="400" height="266" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" /></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; ">Figure 1: Detail from cover art&nbsp;for <i>When Fox Is a Thousand</i>&nbsp;(2004) by <a href="http://www.behance.net/notsosimpleton/frame/565487">Myron Campbell</a>&nbsp;</font></div><div><br /></div><div>In late twentieth-century Vancouver, fox is drawn to Artemis Wong, a Chinese adoptee with Caucasian parents. Artemis's viewing of <i>Blade Runner</i> (1982) subtly highlights cyberpunk's techno-orientalism and feminist analyses of bioinformatics. The Asian-Canadian protagonist is subjected through multiple regimes of racialized and sexualized surveillance but lacks a vocabulary of resistance in a sanitized multiculturalism.<a href="#_ftn6" name="_ftnref6" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[6]</font></span></a> The novel's braiding of the narratives of Fox, Poetess, and Artemis index different kinds of erasure and alterity. This polyvocal structure enables "Lai to redefine both vision and storytelling as a multidimensional process" and to interrogate the fabrication and commodification of identity.<a href="#_ftn7" name="_ftnref7" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[7]</font></span></a> &nbsp;</div><div><br /></div><div>Oscillating between nineteenth-century China and a twenty-first century walled city in the Pacific Northwest, Lai's second novel <i>Salt Fish Girl</i> (2002) constitutes a queer/feminist re-vision from a Chinese diasporic standpoint. The novel not only riffs off a diverse range of creation stories but also refracts 1990s headlines: Dolly the Sheep, maritime smuggling of Chinese migrants, Monsanto's lawsuit against a farmer whose crop picked up genetically altered DNA, the patenting of modified basmati rice by a Texas corporation, and Disney's construction of Celebration, "a fully planned ur-American town."<a href="#_ftn8" name="_ftnref8" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[8]</font></span></a>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;</div><div><br /></div><div><img alt="Nu Wa.png" src="http://www.socialtextjournal.org/periscope/Nu%20Wa.png" width="201" height="284" class="mt-image-right" style="float: right; margin: 0 0 20px 20px;" /></div><div><br /></div><div>Opening with the snake-woman deity Nu Wa (女媧), <i>Salt Fish Girl</i> hybridizes Chinese myth with Genesis, <i>The Little Mermaid</i>, <i>Frankenstein</i>, and <i>Blade Runner</i>. Forgotten by the humans she created, the lonely Nu Wa bifurcates her serpentine body to pursue the Salt-Fish Girl in late 1800s South China. (Figure 2) This taboo desire between feminized Asian bodies is revivified as Nu Wa is reborn as Miranda Ching in the twenty-first century. Miranda, whose body stinks of durian, falls in love with Evie Xin, one of the "Sonia series," worker clones resisting their enslavement to the Pallas Shoe Corporation (read: Nike). Akin to <i>Blade Runner</i>'s replicants, the Sonia cyborgs have been patented by their scientist-father and incarcerated as exploited workers.<a href="#_ftn9" name="_ftnref9" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[9]</font></span></a> Generated from the DNA of a carp and a Chinese-Canadian woman who was interned with her Japanese-Canadian husband, the Sonias articulate a historic desire to defy institutionally managed borders of ethnicity, race, and gender. A rebellious set of these chimeric clones engages in acts of corporate sabotage and ingests modified durian seeds in order to asexually procreate free daughters without male intervention. <i>Salt Fish Girl</i> embraces unruly desire, olfactory assaults, sensual pleasures, and the hopefulness of queer kinship and xenogenesis: "we are the new children...of the earth's revenge. Once we stepped out of mud, now we step out...of DNA both new and old, an imprint of what has gone before, but also a variation. By our difference we mark how ancient the alphabet of our bodies. By our strangeness we write our bodies into the future."<a href="#_ftn10" name="_ftnref10" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[10]</font></span></a> &nbsp;</div><div><br /></div><div>From Mary Shelley to James Tiptree, Jr. to Donna Haraway, feminist speculations in science and literature have imagined hybrid subjectivities, transgenic intimacies, and the abjected yet conscious embodiment of animals, "simians, cyborgs, and women."<a href="#_ftn11" name="_ftnref11" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[11]</font></span></a> The four poems that make up Lai's <i>Automaton Biographies</i> (2009) contribute to this productive conversation by merging the genealogies of cyborg, animal, and Asian. "Rachel" gives new voice to the <i>Blade Runner</i> replicant who thinks she is human. Lai's poetic biography resonates with her 2004 short story "Rachel" and Pat Murphy's Nebula-winning novella "Rachel in Love." (Figure 3)&nbsp;</div><div><br /></div><div><img alt="Lai, Rachel.png" src="http://www.socialtextjournal.org/periscope/Lai%2C%20Rachel.png" width="350" height="204" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" /></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; ">Figure 3a - <i>Rachel in Love:</i>&nbsp;Murphy's 1987 novella about a chimpanzee with the consciousness and memories of a human girl, transferred by her grieving scientist father after a fatal car accident.&nbsp;</font></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; ">Figure 3b - <i>Blade Runner</i>'s Rachael (Sean Young): an experimental replicant with transplanted memories from her inventor's niece.</font></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; ">Figure 3c - Ham: a.k.a. Chop Chop Chang or No. 65</font></div><div><br /></div><div>Lai's poem "Ham" wrenches the name of "the first free creature in outer space" from its triumphant commemoration of militarized science to interrogate EuroAmerican hegemonies of filiality and race. The "<a href="http://www.flickr.com/photos/thehorror/3183991409/">world's first Astrochimp</a>" was called "Chop Chop Chang" and "Number 65" prior to his 1961 flight. Lai's poem illuminates what Ham's anthropomorphized mythology obfuscates: the African-born chimpanzee was bought by NASA and posthumously catalogued as biomedical research property. Ham was neither the first animal in space nor was he free (cf. Garry Sykes's "<a href="http://www.youtube.com/watch?v=b0FZts2QC7M&amp;feature=related">The Last of the Astrochimps</a>"). His life was spent in captivity; his skeleton remains the property of US National Museum of Health and Medicine, filed under <a href="http://thewayofthepanda.blogspot.com/2011/02/cameroons-gagarin-afterlife-of-ham.html?utm_source=twitterfeed&amp;utm_medium=twitter">accession number 1871496</a>.&nbsp;</div><div><i><br /></i></div><div>Lai situates the simian astronaut within a complex terrain of subjectification. The poem conjures the Biblical story of Noah, Transatlantic slavery, European imperialism, Native genocide, and other frontier encounters. Evoking references that range from Koko the gorilla to Homi Bhabha, Lai relates Ham to an extended transnational family marked "almost human but not quite."<a href="#_ftn12" name="_ftnref12" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[12]</font></span></a> (Figure 3) Sampling from Elton John, Darwin, Shakespeare, the <i>Mikado</i>, the Beatles, <i>Tarzan</i>, <i>Peter Pan</i>, Brittney Spears, Greek myth, and pop culture, the poem "recognizes arc from animal to cultural."<a href="#_ftn13" name="_ftnref13" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[13]</font></span></a> "Ham" indicts "the cycle that segues human to non."<a href="#_ftn14" name="_ftnref14" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[14]</font></span></a> With the final poem "Auto Matter," Lai affiliates her own family history of displacement/migration with Rachel and Ham. Thus <i>Automaton Biographies</i> reifies Lai's "new cultural politics of intimacy": by deftly weaving together the biographies of cyborgs who are female, animal, and Asian, Lai disrupts generic assumptions of how we gather, re-member, and taxonomize stories of life.&nbsp;</div><div><br /></div><div><i>Tamara C. Ho is an assistant professor of Women's Studies at the University of California, Riverside. Her publications include essays on Burmese women writers, immigrant Buddhism, translation and film, and transgendered spirit mediums. Her work has appeared in the journals&nbsp;</i>PMLA<i>&nbsp;and&nbsp;</i>Discourse: Journal for Theoretical Studies in Media and Culture<i>, and the edited collections&nbsp;</i>Word Matters: Conversations with Asian American Authors<i>&nbsp;and&nbsp;</i>A Resource Guide to Asian American Literature.</div> ]]>
        
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<entry>
    <title>Socialist Irrealism: an interview with China Miéville</title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/periscope/2012/01/socialist-irrealism-an-interview-with-china-mieville.php" />
    <id>tag:www.socialtextjournal.org,2012:/periscope//6.1761</id>

    <published>2012-01-04T06:05:00Z</published>
    <updated>2012-01-21T20:04:22Z</updated>

    <summary><![CDATA[China Miéville is the recipient of multiple awards for his speculative/science/weird fiction novels, and the only author ever to win three Arthur C. Clarke Awards. &nbsp;His most recent novel, Embassytown, came out in May 2011 and has received enthusiastic reviews....]]></summary>
    <author>
        <name>Jayna Brown</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=6&amp;id=165</uri>
    </author>
    
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    <category term="irrealism" label="irrealism" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="miéville" label="miéville" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="speculation" label="speculation" scheme="http://www.sixapart.com/ns/types#tag" />
    
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        <![CDATA[<div><br /></div><div>China Miéville is the recipient of multiple awards for his speculative/science/weird fiction novels, and the only author ever to win three Arthur C. Clarke Awards. &nbsp;His most recent novel, <i>Embassytown</i>, came out in May 2011 and has received enthusiastic reviews. As well as writing fiction, Miéville earned his Ph.D. at London School of Economics in International Law and is the author of <i>Between Equal Rights, A Marxist Theory of International Law</i> (2006).</div><div>&nbsp; &nbsp; &nbsp;&nbsp;</div><div>Known for his radical fictive speculation, China Miéville is also fiercely engaged with radical politics--he stood for the House of Commons as candidate for the Socialist Alliance in the 2001 UK general election--and so is often asked about the relationship between his politics and his writing. He explains that he makes an important distinction between writing fiction to make political points and writing with a political perspective. Overt propaganda, he argues, can easily pull against the grain of a "contradictory, knotted, fully textured piece of fiction." He says "The alternative to me is to be thinking in terms of exploring political ideas in fiction, to create a world in which the structure of this world is saturated by a certain kind of political texture, in which these worlds have their own kind of integrity. So they are not reducible to their politics, but politics are also not distinguishable from them." &nbsp;One thinks of all of the phantasmagoric worlds of his novels--from the Bas Lag universe of <i>Perdido Street Station</i>, <i>Iron Council</i> and <i>The Scar</i>, to the weirdly interstitial places of <i>The City and the City</i> and <i>Kraken</i>, and the colonized planet of the Arekei sunk in an impenetrable subspace called the 'immer' from his latest novel <i>Embassytown</i>---as such saturated places, all politically inflected, yet never reductive or reducible to a particular polemic.</div><div><br /></div><div><img alt="Mievelle.png" src="http://www.socialtextjournal.org/periscope/Mievelle.png" class="mt-image-center" style="text-align: center; display: block; margin-top: 0px; margin-right: auto; margin-bottom: 20px; margin-left: auto; " height="300" width="200" /></div><div style="text-align: left;">Alexis and I met up with China in a Los Angeles to London Skype call to talk about anti-capitalism and recent forms of political engagement happening in the UK and the US; race, sexuality and queer politics in his own work; and colonialism and imperialism in the science fiction genre.</div><div style="text-align: center;"><br /></div><div style="text-align: left;"><b>J: </b>In a recent interview you called the riots in London "<a href="http://kgogomodumo.com/blog/2011/08/27/interview-china-mieville/">epochal</a>." We can say that the riots, as well as the current Occupy movement, are quite distinct in their formation, and may even mark a new era of political engagement. This is for some a heady moment, seen as the first time in a long twilight of neoliberalism and rampant speculative capitalism that we have any hope of some substantive change. We are reminded of the revolutionary moments you portray, with all their complexities and failures, in novels like <i>Iron Council</i>. Given that any movement has multiple branches, do you see any aspect of this political moment as marking a sea change, at least in expanding people's understanding of what is possible? Do you think any of it can be sustained beyond a politics of reform?</div><div style="text-align: left;"><br /></div><div><b>C:</b> I do think this movement marks a sea change, and yes, I'm absolutely excited, blown away, buoyed up and freaked out in the best possible way. I am impressed with how savvy the occupiers are. Within the space of a week they've massively changed the news agenda. They've forced mainstream politicians to recognize the concerns of the protesters, which are of a fairly radical nature; for the most part it's a reformist radicalism, but radical nonetheless. The occupiers have shifted the terms of the debate onto the terrain of class, though of course they are not using the language of class as I am. The politicians are being forced to accommodate the class rage of people who feel disgusted by the venality of the American ruling elite.</div><div>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;</div><div>What is also key here is that in the US there has been a huge shift in terms of the way many people understand their relationship to the police. The riots and the occupations are related on this axis, though of course police violence is not news to people of color. The riots and previous riots need to be understood in the context of poverty and alienation, but the crucial issue is the ubiquity of police violence, which is always racialized or drawn along class lines. That's why I was so pissed off with <a href="http://www.lrb.co.uk/2011/08/19/slavoj-zizek/shoplifters-of-the-world-unite">that Zizek article</a>. This notion that they weren't demanding anything is bullshit. It's come up again and again: when the rioters were interviewed, they said they couldn't let the cops continue to shoot black people with no comeback. The grounds for debate are fallacious.&nbsp;</div><div><span class="Apple-tab-span" style="white-space:pre">	</span></div><div>The Occupy movement was not initially about the cops, but the police reaction has shocked a lot of people. The idea that police are neutral arbiters is no longer feasible to those for whom it may have seemed so before. Someone may go out to a demonstration in the morning thinking, well, cops are our friends, get smacked in the face with a baton and return home with a completely different conception of the role of the police in relationship to Wall Street.</div><div><br /></div><div><b>J:</b> Is this moment, or the Occupy movement, explicitly anti-capitalist? Or will it most likely be easily retrenched into a kind of toothless reformism?</div><div><br /></div><div><b>C:</b> Since there are people involved in this who are quite young, or without an explicit politic, trying to pin the movement down as anti-capitalism or not is counterproductive. It is much more fluid than that, in terms of people's explicit consciousness and in terms of their embedded politics. If you went up to most people and asked them if they wanted to see the overthrow of capitalism, the only people who would say yes are the anarchists, the socialists, those that come out of an organized political movement. Does that therefore make it a reformist movement? No, not at all. If you asked people what they want they'd say things like a fairer society, redistribution of wealth, health care not run for profit, the rich taxed in a fair way. These in themselves are not necessarily anti-capitalist demands, but we denigrate them if we don't recognize that they push at the edges of a potentially very critical and radical position. This is probably not the death throes of capitalism, but this a movement which is fecund ground for very radical anti-capitalist positions, and I am inclined to optimism rather than pessimism about its trajectory.</div><div><div style="text-align: center;"><br /></div></div><div style="text-align: left;"><img alt="embassytown2.png" src="http://www.socialtextjournal.org/periscope/embassytown2.png" class="mt-image-left" style="float: left; margin: 0 20px 20px 0;" height="222" width="161" /><img alt="embassytown.png" src="http://www.socialtextjournal.org/periscope/embassytown.png" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" height="223" width="149" /></div><div style="text-align: center;"><br /></div><div><b>J:</b> How did you end up writing the kind of fiction that you do instead of some sort of grim social realism? Your work is very physical and visceral, and full of the grotesque. Are the monsters you create political in any sense of the word? &nbsp;</div><div><br /></div><div><b>C:</b> Instead it's grim social irrealism... I come to the table first as a kid who loved monsters. On an aesthetic level, that comes out of the very strong tradition of horror located in the body and the irreducibility of the body. Monsters are fleshly, and my work is always corporeal, somatic. The moment I am pushed out of my body I become less interested. I'm not one of these guys who want to download my consciousness into the internet and let my body wither; the idea horrifies me. I would love to see the end of physical decay, but I don't want to become disembodied at all.</div><div><span class="Apple-tab-span" style="white-space:pre">	</span></div><div>There was never a moment I was interested in writing the kind of stuff we can grandly called mimetic, that was "socially realist." I was always interested in the surreal, the imaginary. Obviously I'm interested in the intersection between this and politics, but it would be misleading to imply that there was a programmatic attempt to marry the two. For me as a writer there is a joy in the making of the impossible. There is something about the carnivalesque creativity of monsters, the pushing into the unknown, the ineffable. I think part of what delights us is that sense of excess, that sense of the monster as not simply a symbol, but a cool weird thing I would never have thought of.</div><div>&nbsp; &nbsp; &nbsp; &nbsp;&nbsp;</div><div>People often read monsters as a challenge to dominant culture's enforced normative categories that mark variation as deviant. But I think we inflate the potential radicalism of monsters at our peril. The moment one hears the word "transgress," or "subvert," one gets all kinds of left-theory excited, thinking about these things as pulling against the grain of dominant culture. I don't think so; the culture industry sadly has no difficulty commodifying the most transgressive monster.</div><div><br /></div><div><b>J:</b> But can't they be both transgressive and easily commodified? And monsters don't always represent liberatory deviance, do they. The can also work as metaphors of, say, fascism. You do say there is not a one-to-one relationship between politics and your stories, but certainly there are analogies with race that we can't help to make with your monsters, especially with regard to the different kinds of beings who coexist in the Bas-Lag universe of <i>Perdido Street Station</i>, <i>The Scar</i>, and <i>Iron Council</i>.</div><div><br /></div><div><b>C:</b> Monsters are metaphoric creatures, they are going to throw off all these meanings. And I'm not saying that there are no resonances with race. The use of these figures in any book is going to resonate in various ways within any culture of racism. But I don't think critiques of race and racism work well in an allegorical register. You end up with movies like <i>Alien Nation</i> or whatever, which reads aliens and race fairly clearly in that way. <i>District 9</i>, in a kind of cack-handed, ugly and racist way, was kind of trying to make points about racism using these figures. In my books I wanted to start with the fact that racism is produced by capitalism and imperialism and that the racialization of certain bodies is constitutively part of that totality. &nbsp; &nbsp;&nbsp;</div><div><br /></div><div><img alt="iron council.png" src="http://www.socialtextjournal.org/periscope/iron%20council.png" class="mt-image-left" style="float: left; margin: 0 20px 20px 0;" height="300" width="198" /><img alt="chinam.png" src="http://www.socialtextjournal.org/periscope/chinam.png" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" height="300" width="232" /></div><div><br /></div><div></div><div><b>A:</b> Your work is full of weirdly sexed and gendered bodies and deviant desires. Jordana Rosenberg has <a href="http://glq.dukejournals.org/content/16/1-2/326.full.pdf+html">an excellent essay</a> on "queer durée" in <i>Iron Council</i>, where she looks at your work as bringing queer desire into representations of the history of capitalism. Have you consciously engaged with queer politics and activism in other ways in your writing?</div><div><br /></div><div><b>C:</b> Whether the writing is 'queer,' in the broadest sense, I think that's probably not for me to judge. I hope it takes queer politics very seriously. As I said to Jordana--and I say this as someone who is not steeped in queer theory--my only concern is about the extrapolation of the notion of queerness to historical structures and historical durée. On the one hand it may be a really interesting and useful heuristic, but on the other hand I would be cautious about pushing it to an extent that it becomes disaggregated from actual gay politics. If we start to use queer as a general notion of discombobulation of the normative, then we may lose some of the specificity of gay oppression and resistance. That was my only caveat to what I thought was a lovely article and a really interesting approach.</div><div><span class="Apple-tab-span" style="white-space:pre">	</span></div><div>My most sustained engagement is definitely <i>Iron Council</i>, in which the historical structures of sexuality are part of the book. It drew a fair bit on stuff about gay culture in London in the 18th century, the working class tradition of the molly houses and so on. In a lot of the books there's a hopefully friendly but not particularly sophisticated or in depth engagement with non-pathologized gay characters and queerness. I can think of books that are ostentatiously gay-friendly; there are nice gay characters but they are heavily desexualized. There is still great cultural anxiety about anality, about anal penetration and in <i>Iron Council</i> I wanted to have a gay character who was also a sexual character, who engaged in anal sex and it wasn't a particularly big fucking deal.</div><div><br /></div><div><img alt="verne.png" src="http://www.socialtextjournal.org/periscope/verne.png" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" height="300" width="195" /></div><div><b>J:</b> It can be argued that science fiction as a genre, from Jules Verne's aeronef hovering above the "unknown regions of Africa" to Dr. Moreau's island, developed out of the intertwined enterprises of industrial revolution, scientific revelation and colonial conquest. We can see the genre as rooted in capitalist expansion and scientific discovery, but it is as deeply rooted in social relations of imperialism and colonialism, drawing many of its foundational tropes from narratives of violent expansion, genocide and conquest. Many authors since have transformed these tropes into critical counternarratives, exploring them from different perspectives or turning them around; others reproduce in their work the worst of imperialist and settler colonialist ideology and nationalist paranoia. Given that science fiction narratives as a form are involved in a politics of spatial and temporal encounter, between species, worlds and cultural systems, do you see any evidence that such imagined encounters can take place outside of a paradigm of domination and exploitation? Can you talk about how you engage with, or disengage from, forms of domination, colonialism and imperialism in your work?</div><div><br /></div><div><b>C:</b> I suspect no, we can't think outside of those paradigms, and I am quite suspicious of the notion of thinking outside of anything. We can never think outside the paradigm we are in. The notion that one can step outside is sadly mistaken because colonial capitalism, white supremacist capitalism, is a total system. In the case of sci fi, and narratives of expansion, penetration and exploration, my suspicion is that those categories are so indelibly part of colonial modernity that you can't decolonize them, can't think you are exploring anything without colonialism being in the room with you. But that is not to say it is not also a conflictual and fractured system.</div><div><br /></div><div><b>A:</b> What about other work engaged with colonialism in critical ways? The work of Nalo Hopkinson would be a paradigm for that.</div><div><br /></div><div><b>C:</b> Most categories with which we think are going to be stained by something pretty toxic. This doesn't preclude our aesthetic, dialectical or social virtuosity in doing certain things with it, thinking interesting, potentially radical, political and even critical thoughts with it. But it's utopian in the bad sense to think you can drain the power out of these social relationships. As a writer, being aware that colonialism is in the chair with you can be quite emancipatory. Rather than thinking you're putting it aside, you can explicitly and implicitly engage with it.</div><div>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;</div><div>There is a brand of naïve anti colonialism that falls back into the noble savage narrative, that simply replicates a notion of beautiful natives and a place or a past that, if we could return to it, would answer all of our political problems. And it is very difficult to recognize the toxicity of colonial relations without getting caught in this kind of narrative.</div><div><span class="Apple-tab-span" style="white-space:pre">	</span></div><div>This gets back to the way some from within my own stable who defend this genre of fiction--people who work within theories of the utopian tradition, who talk about science fiction texts as presenting fascinating radical alternatives. The idea that a book based in another society is useful to us in a utopian manner to the extent that we can learn from it how we might have a different society--that's just not how they work. That's why to me the fundamental category has always been alterity, not utopianism. I think there is something about the sublime, and the sense of the sublime as inhabiting the everyday, that may operate as a copula between a utopian or alterity-based tradition and the critique of the everyday. And the thing about the sublime is that you can see it from the hills you're on and it's blowing your fucking mind, you couldn't possibly describe it and it's beyond language, and that sense of the unrepresentable, that sense of awe. Awe is a word that in SF we have become embarrassed by and I say let's rehabilitate it! Let's have critically rigorous socialist awe, and the locus for that, I think, is a kind of radical quotidian sublime.</div> ]]>
        
    </content>
</entry>

<entry>
    <title>Race for Life</title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/periscope/2012/01/race-for-life.php" />
    <id>tag:www.socialtextjournal.org,2012:/periscope//6.1762</id>

    <published>2012-01-04T06:05:00Z</published>
    <updated>2012-01-12T20:07:12Z</updated>

    <summary>The short film accompanying musician and designer M.I.A.&apos;s (Maya Arulpragasam, who is British of Sri Lankan Tamil descent) song &quot;Born Free&quot; was released in April of 2010 and immediately banned from YouTube. Arulpragasam is no stranger to controversy, since she...</summary>
    <author>
        <name>Alex Weheliye</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=6&amp;id=705</uri>
    </author>
    
        <category term="Speculative Life" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="mia" label="m.i.a." scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="racialization" label="racialization" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="speculation" label="speculation" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.socialtextjournal.org/periscope/">
        <![CDATA[<div><br /></div><div>The short film accompanying musician and designer M.I.A.'s (Maya Arulpragasam, who is British of Sri Lankan Tamil descent) song "Born Free" was released in April of 2010 and immediately banned from YouTube. Arulpragasam is no stranger to controversy, since she has drawn attention to the violence perpetrated against the Tamil minority in Sri Lanka, while her music and accompanying visual work is replete with references to different forms of political violence and identification with non-western persecuted populations.</div><div><br /></div><div>One of the few female artists in contemporary popular music that fuse explicit political content with cutting edge sounds, Arulpragasam has often been accused of toying with radical chic and being politically naïve, rather than associated with a long tradition of women of color musical iconoclasts that ranges from Betty Davis, Poly Styrene, Debora Lyall, and Grace Jones to Nicolette, Erykah Badu, and Ebony Bones. M.I.A. extends this lineage by infusing her artistic practice with sights, sounds and politics from the Global South, deploying these not as fountains of premodern authenticity but as thoroughly ensnared in the planetary technological flows of bodies, capital, and ideas. The entanglements between 'the West and the rest' become perceptible in M.I.A.s work via the mixological juxtaposition of putatively incongruent components, for instance, in the photo on the background of her Twitter page that shows M.I.A. donning a niqab adorned with Scarlett Johansen's face:</div><div><br /></div><div><img alt="mia twitter.png" src="http://www.socialtextjournal.org/periscope/mia%20twitter.png" width="467" height="238" class="mt-image-center" style="text-align: center; display: block; margin: 0 auto 20px;" /></div><div style="text-align: center;"><font class="Apple-style-span" style="font-size: 0.8em; "><a href="http://twitter.com/#!/_M_I_A_/status/69804630661541888">http://twitter.com/#!/_M_I_A_/status/69804630661541888</a></font></div><div><br /></div><div>"Born Free," set in the Southwestern United States, begins when a US military SWAT team in search of a suspect forcibly enters a residential building, brutally beating the residents they encounter.<a href="#_ftn1" name="_ftnref1" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[1]</font></span></a> Once the soldiers locate and apprehend the man they have been searching for, he is transferred to a prison bus filled with other red-haired men and boys. &nbsp;Ultimately, the 'gingers' are taken to the desert, where the SWAT team forces them to exit the bus and commands the men to run over a plot of land swimming with landmines, where they are either executed or blown to pieces by the landmines.&nbsp;</div><div><br /></div><div><iframe src="http://player.vimeo.com/video/11219730?title=0&amp;byline=0&amp;portrait=0" width="400" height="225" frameborder="0" webkitallowfullscreen="" mozallowfullscreen="" allowfullscreen=""></iframe><p><a href="http://vimeo.com/11219730">M.I.A, Born Free</a> from <a href="http://vimeo.com/user3148077">ROMAIN-GAVRAS</a> on <a href="http://vimeo.com">Vimeo</a>.</p>&nbsp;</div><div>The song, consisting of little besides a cacophonous bass line, martial drumming, and M.I.A.'s highly distorted voice, intensifies the violent assault of the images, generating an affective surplus in which "the life of the individual gives way to an impersonal and yet singular life that releases a pure event freed from . . . the subjectivity and objectivity of what happens."<a href="#_ftn2" name="_ftnref2" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[2]</font></span></a> This is why much of the commentary about the video, which focuses on the metaphorics of how Arulpragasam, as a female artist of color, imagines the racially motivated extermination of whites, misses the point. For "Born Free" does not swap 'gingers' (non-real) for an 'actually' oppressed non-white group (real) in a revanchist manner, but, if anything, uses the hypothetical persecution of red haired-men as a visual tool that places an affective spotlight on the global operations of racialization. Reading this work as metaphoric substitution denies not only the mutability of racial categories but also too readily accepts our current racial order of things as inevitable rather than as a set of sedimented political relations. "Born Free" makes sense only within modern logics of racialization, which veil political processes of subjugation through biological markers (hair color, skin pigmentation, etc.), otherwise the film's central gambit of placing 'gingers' in the victim role would be unremarkable. While the video severs state sponsored persecution from particular historical subjects and objects, it maintains the relentlessly visual basis of the distinction between human life worthy of protection, and that which is not. For the interdiction of subjects that belong to the species of homo sapiens from the ideological domain of humanity depends upon the workings of racialization (differentiation) and racism (hierarchization and exclusion); in fact, the two are frequently inseparable.&nbsp;</div><div><br /></div><div>For Giorgio Agamben the subjectivity (bare life) produced by modern political violence appears as the political manipulation of biological life in which "the biopolitics of racism . . . transcends race, ... and we witness the emergence of something like an absolute biological substance."<a href="#_ftn3" name="_ftnref3" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[3]</font></span></a>  &nbsp;Even though racism produces this 'absolute biological substance,' it does so in the service of erasing racial categorization altogether: life stripped of its humanity. If racism is understood as not resting on phenotype or culture, but, according to Ruth Wilson Gilmore, as "the ordinary means through which dehumanization achieves ideological normality, while, at the same time, the practice of dehumanizing people produces racial categories," then it names not only the conditions of possibility for violent exclusions but also serves as the foundation for policing the borders between 'bare life' and 'life.'<a href="#_ftn4" name="_ftnref4" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[4]</font></span></a>  &nbsp;Thus, the absolute biological substance borne of the biopolitics of racism represents a form of racial classification rather than its supersession.</div><div><br /></div><div>By using a visually distinctive group of white people, who have faced discrimination, albeit in less severe form than depicted in the video, "Born Free" illustrates the techniques by which 'bare life' is affixed to the bodies of specific homo sapiens so that their expulsion from humanity appears natural, and therefore warranted. "Born Free" is a powerful piece of agitprop that, through a slight shift in perspective, draws attention to the global cum systemic aspects of racialized violence. In the process, the film stages how the very idea of human life is intimately bound to racial categorization, asking viewers to imagine a world in which scopic differentiation does not form an integral link in the great chain of human life.&nbsp;</div><div><i><br /></i></div><div><i>Alexander G. Weheliye is associate professor of African American Studies and English at Northwestern University. He is the author of </i>Phonographies: Grooves in Sonic Afro-Modernity<i> (Duke University Press, 2005). Currently, he is working on two projects. The first, </i>Habeas Viscus: Racialization, Bare Life, and the Human<i>, concerns the relationship between black studies, political violence, and alternate conceptions of humanity. The second, </i>Modernity Hesitant: The Civilizational Diagnostics of W.E.B. Du Bois and Walter Benjamin<i>, tracks the different ways in which these thinkers imagine the 'marginal' as central to the workings of modern civilization.</i></div><div><br /></div> ]]>
        
    </content>
</entry>

<entry>
    <title>So Say We All</title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/periscope/2012/01/so-say-we-all.php" />
    <id>tag:www.socialtextjournal.org,2012:/periscope//6.1763</id>

    <published>2012-01-04T06:04:00Z</published>
    <updated>2012-01-09T04:27:55Z</updated>

    <summary>Race is an illusion. So say we all! But what do we intend by this saying, this performative? Denise Ferreira da Silva is but the most recent of scholars to note that, in dispelling race from its improper place in...</summary>
    <author>
        <name>Tavia Nyong&apos;o</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=6&amp;id=3</uri>
    </author>
    
        <category term="Speculative Life" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="bsg" label="bsg" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="race" label="race" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="rationality" label="rationality" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="sciencefiction" label="science fiction" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="speculation" label="speculation" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.socialtextjournal.org/periscope/">
        <![CDATA[<div><br /></div><div>Race is an illusion. So say we all! But what do we intend by this saying, this performative? Denise Ferreira da Silva is but the most recent of scholars to note that, in dispelling race from its improper place in the order of the human sciences, casting it into disrespectability along with sorcery, alchemy, and other bait for the credulous, we consolidate that much more firmly the protocols of scientific rationality. But the protocols of science gave us race as an invidious distinction in the first place. Reason giveth, and reason taketh away, seems to be the faith animating the claim "Race is an illusion." But what if were to suspend such faith in the subject of Enlightenment rationality? What might the illusions of race look like then? &nbsp;</div><div><br /></div><div>Speculative genres are a particularly good place to look for such suspensions of belief, and so they are helpful in testing the range and limits of our complacency about race and racism. This is more the case in literary genres less beholden to the highly capitalized industries, but even mainstream SF film and television can occasionally explore both the illusions of race and their tenacity.&nbsp;</div><div><br /></div><div>The TV remake of <i>Battlestar Galactica</i>, which ran from 2003 to 2009 on the SciFi channel, presents an interesting case, insofar as it presented itself as an <i>especially realistic</i> work of science fiction, which would avoid arbitrary and excessive flights of fantasy. For the far-fetched, <i>Battlestar</i> would be down-to-earth, and so offered viewers the possibility of grappling directly with racial realism even within a speculative scenario.&nbsp;</div><div><br /></div><div>Like <i>Star Trek</i> before it, <i>Battlestar</i> featured a multicolored, but predominantly white human race confronting an alien other. The 'Cylons,' robot slaves who have risen up against humanity in genocidal vengeance, are an obvious candidate for a racial reading. But the discovery that a new 'breed' of them could pass for human, a breed the humans proceed to derisively refer to as "skin jobs," activated a particularly rich and complex series of racial allegories, including allegories of anti-semitism and racial passing. But against the backdrop of these racial allegories stood the racial spectacle of the series itself, a product of the Hollywood culture industries, exhibiting all the symptomatic conventions of racial casting and stereotyping, even as it sought to evade or subvert those conventions.</div><div><br /></div><div>The show relied upon the familiar and thoroughly un-reassuring premise that black and white can unite and fight only when confronted with an utterly alien foe. Humans experience the transcendence of race only when confronting the gaze of the hostile other for whom we are all but prey. But <i>Battlestar</i> also unseats this convention of race war by making both humans and Cylons theistic races caught in a dynamic of belief and conversion. The humans are, ironically, polytheistic (and therefore 'primitive' in a civilizational schema derived from nineteenth century anthropology) while the Cylons worship a new, singular God. So while the series launches with a genocidal attack of the Cylons upon humanity, which leaves no doubt of their "villainy," their technological, biological, and theological 'superiority' to humanity introduces a series of doubts into the standard white hats/black hats scenario. The introduction of skin jobs who feel as well as look human, who fall in love with, have sexual intercourse with, and even <i>convert</i> and come to conceive new life together with humans, adds further layers of complexity.&nbsp;</div><div><br /></div><div>Race war, one could say, forms the ontoepistemological backdrop of all the ensuing events of the series, making both its ultimate resolution, not to mention the "lessons" it leaves us with, all the more pressing to ponder. But it is one in which who will engulf whom is continuously and agonizingly posed (before being unfortunately and ludicrously resolved in the final episode through updated Edenic myth). If the enslaved Cylons necessarily stand in, in this allegory, for the wretched of the earth, rising up against human supremacy, does that make the human race as such a <i>white</i> race? Certainly humans are presented as living on an archipelago of <i>colonies</i>, and the relations within those different colonies suggest that while phenotype may not register within the world of <i>Battlestar</i> for race, colonial identity does (people from one particular colony are more superstitious than the others, etc.). The series therefore presents an allegory within an allegory: a foregrounded human-Cylon relation modeled on the cyborg as slave, and a backgrounded internal human-human division in which colonialism maps uneasily onto earthly questions of race.</div><div><br /></div><div>The series was thus poised to explore planetary racial and colonial dynamics rarely addressed on escapist American TV. And lessons were hardly in short supply on the show. Debuting shortly after the U.S. invasion of Iraq, and amidst the early ferment of the War on Terror, the show used the conventions of space opera to investigate serious issues like genocide, nuclear weapons, terrorism, capital punishment, military tribunals, torture, war rape, religious fundamentalism, and civil liberties. Thus, the show solicited recognition that the victimized human "race" was reaping the whirlwind, and that the Cylons who so piteously attacked them/us were not 'aliens' at all, but the return of the repressed. Placing that first insurrection outside the main storyline kept <i>Battlestar</i> from resonating too strongly with the long history of slave and plebeian insurrection from Spartacus to Santo Domingo (and beyond). But this deep and melancholic historical racial allegory, I suggest, was never fully absent from the screen. The inscrutability of Cylon motivation evidenced this, insofar as admitting the full consciousness and history of the slave an order of recognition cannot occur without confronting that order with its foundational trauma.&nbsp;</div><div><br /></div><div>In the end, <i>Battlestar</i> could not go that far. Instead it fell prey to the temptation to resolved the master-slave dialectic into a romance of heterosexual reproduction. Elsewhere, in my book <i>The Amalgamation Waltz</i>, I examined the odd pairing of mongrel pasts and hybrid future in discourses of race mixing. <i>Battlestar</i> employed the speculative leeway of space opera to conflate this conventions into one, making what we thought as a hybrid future into a hidden, mongrel past.</div><div><br /></div><div>Science fiction has repeatedly used robots to explore sexual slavery - the film <i>Blade Runner</i> being the most prominent example. The twist that <i>Battlestar Galactica</i> introduced, albeit only in its concluding moments (which some fans have called "<a href="http://ideas.4brad.com/battlestar/battlestars-daybreak-worst-ending-history-screen-science-fiction">the worst ending in the history of science fiction on the screen</a>") was to reveal what we assumed to be a distant future was in fact the aboriginal human past. (Spoiler alert) The show concluded in a <i>deus ex machina</i>: the human-Cylon hybrid child Hera is revealed to be <a href="http://en.wikipedia.org/wiki/Mitochondrial_Eve">Mitochondrial Eve</a>, whom real scientists posit to be the most recent common ancestor on the matrilineal line of all living humans today.&nbsp;</div><div><br /></div><div>If "race" is an illusion based on <a href="http://en.wikipedia.org/wiki/Most_recent_common_ancestor">the impossible logic of the binary tree of genealogical descent</a>, Mitochondrial Eve is a convenient post-racial figure for troping it's scientific errancy. In place of the illusion of separate races, human and cyborg, the show presented a new illusion, a singular race, courtesy of the latest genetic scientific rationality.</div><div><br /></div><div>Of course, as the fan boys howled, resolving the show in such a way actually made a mockery of both science and logic. In order to work, they argued, this resolution would ironically rely upon a more stringent theory of intelligent design than has ever been proposed by Christian fundamentalists. The neatly post-racial conclusion, founded on what looked on the screen like "real" science, could only resonate at the level of wishful thinking.&nbsp;</div><div><br /></div><div>What neater way to finally address the burning question of racism than by revealing it to be a cosmic joke? If our hybrid future is revealed to lie long buried in the mongrel past, we have nothing to do but recognize the folly of racial divisions as an illusion, an error, a false faith in purity keeping us from embracing our inner, mitochondrial hybridity. But this default back into the liberal scientific anti-racism of our present moment, I want to suggest, ironically betrays the more subversive lessons the show could teach us.</div><div><br /></div><div>Instead of following its fictional premise to the end, and investigate the traumatic consequences of the originary division of (human) life and (Cylon) social death, the show falsely substituted a fantastic version of human prehistory as a kind of screen memory, thus attempting to repress the series' irrepressible antagonism. This screen memory was restaged at the United Nations in New York, when series stars Edward James Olmos and Mary McDonnell addressed an audience of youth delegates on what the series could teach them about solving problems through diplomacy on our own planet. At one point Olmos, responding to a diplomat's use of the term race in his comments, delivered an impassioned speech against the false concept of race, which he asserted came about only as a way of justifying and conducting race war, before shifting into the register of color-blind liberalism to declare that there was only one race, the human race. &nbsp;&nbsp;</div><div><br /></div><div><iframe width="420" height="315" src="http://www.youtube.com/embed/iSFDrOxWCXY" frameborder="0" allowfullscreen=""></iframe>"</div><div><br /></div><div>So say we all!" he concluded with the rousing cry his character William Adama often ended his speeches with, blurring his real identity as Chicano actor with his TV role as Battleship commander. "So say we all!" responded the gathered youth, transported, through the vehicle of fandom, into transracial unity. But the liberal vow that there is no race but the human race was haunted by echoes of the claim Olmos had made only minutes before, a claim that had been substantiated over the course of the series, that race could be deployed as an apparatus of war not only <i>despite</i> its illusory basis, but indeed <i>because</i> of it.&nbsp;</div><div><br /></div> ]]>
        
    </content>
</entry>

<entry>
    <title>The Water Keeps Flowing</title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/periscope/2012/01/the-water-keeps-flowing.php" />
    <id>tag:www.socialtextjournal.org,2012:/periscope//6.1764</id>

    <published>2012-01-04T06:03:00Z</published>
    <updated>2012-01-09T18:52:36Z</updated>

    <summary>When it comes to dealing with misfortune and injustice, the most effective tool to use if we want to make sure that troubles will persist without relief is a simple sentence: That&apos;s water under the bridge. No use crying over...</summary>
    <author>
        <name>Elizabeth Turgeon</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=6&amp;id=710</uri>
    </author>
    
        <category term="Speculative Life" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="futurity" label="futurity" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="indigeneity" label="indigeneity" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="pastwatch" label="pastwatch" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="settlercolonialism" label="settler-colonialism" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="speculation" label="speculation" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.socialtextjournal.org/periscope/">
        <![CDATA[<blockquote class="webkit-indent-blockquote" style="margin: 0 0 0 40px; border: none; padding: 0px;"><div><br /></div><div>When it comes to dealing with misfortune and injustice, the most effective tool to use if we want to make sure that troubles will persist without relief is a simple sentence: <u>That's water under the bridge. No use crying over spilled milk. The past is over and done with. The goose is cooked. What's done is done.</u></div><div><br /></div><div>Whenever people have their attention called to injuries that occurred in the past, it is almost certain that someone will pipe up with a demand that everyone cut short the desire to improve the world and, instead, to defer to the water-under-the-bridge school of history.<span class="MsoFootnoteReference" style="text-decoration: none; "><font class="Apple-style-span" style="font-size: 0.8em; "><a href="#_ftn1" name="_ftnref1" title="" style="text-decoration: none; ">[1]</a></font></span></div></blockquote><div><br /></div><div>There are is perhaps no better example of the water-under-the-bridge school of thought in the settler-colonial imagination, than Orson Scott Card's <i>Pastwatch: The Redemption of Christopher Columbus</i>. In <i>Pastwatch</i>, Card tells of a global society that finds itself able to go back in time and reboot history. If they were to be sufficiently committed and sufficiently clever, they could retroactively prevent the twin evils of slavery and colonialism. There is one major catch: in doing so, they would write themselves, and their own futures, out of existence.</div><div><br /></div><div>Card's society, a near-utopia fatally poisoned by the aftereffects of colonialism, accepts the bargain. They decide that it is better to have never lived, for their <i>children</i> to have never lived, than to allow that original suffering to have happened.</div><div><br /></div><div>As settler-colonial re-imaginings of Columbus and his legacy go, Pastwatch is one of the better ones. Card does not deny the horror of Columbus's actions nor of the history that followed. If Card grieves for a mythic folk-hero of his childhood and thus feels a need to redeem Columbus, then Card has more sense than to blame Indians for Columbus's actions (unlike some relatives of mine), and Card likewise attempts to strike a meaningful balance between Columbus having the capacity to make moral decisions and being a product of his society. Some aspects of the book make me raise an eyebrow, but there is nothing here that prompts me to throw it against the wall.</div><div><br /></div><div>And yet.&nbsp;</div><div><br /></div><div><i>Pastwatch</i> is premised upon having to choose between one's own continued existence and correcting the original wrongs. No other choices are available.</div><div><br /></div><div>That seems... extreme.</div><div><br /></div><div>If that opposition appeared in only a single book, I would not be so disturbed, but unfortunately, the trend is widespread. When I dig into the library bins to see what books teachers are giving to kids these days to help them learn about American Indians, I find book after book re-imagining that moment of first contact between indigenous people and settlers. They are nearly all written by non-Native authors, and curiously, these non-Native authors write from an allegedly indigenous point of view. Jane Yolen, <i>Encounter</i>. David Wisniewski, <i>The Wave of the Sea-Wolf</i>. John Marsden, <i>The Rabbits</i>. There is a formula to these books: "'our' life was good but then white people came and ruined everything, and now 'our' lives are horrible, possibly forever." Putting aside the question of why genuinely indigenous points of view are being passed over for faux-indigenous points of view, why is it that so many white authors feel the need to re-cast themselves as indigenous when they imagine this history? Is being in possession of settler privilege so terrible, so completely bankrupt of the possibility of moral action?&nbsp;</div><div><br /></div><div>(What do their children make of that, I wonder? What are they supposed to grow up to do, short of going back in time and doing it over?)</div><div><br /></div><div>Nor is it just the children's books, the historicals, the horribly-ever-afters. In James Cameron's <i>Avatar</i>, Jake Sully goes N'avi to save Pandora from future colonialists, just as Kevin Costner's Lieutenant Dunbar had gone Lakota nineteen years before. Again, a fantasy of becoming indigenous. Again, a fantasy of redoing the beginnings. Talking about <i>Avatar</i>, James Cameron said:</div><div><br /></div><blockquote class="webkit-indent-blockquote" style="margin: 0 0 0 40px; border: none; padding: 0px;"><div>This was a driving force for me in the writing of Avatar -- I couldn't help but think that if [the Lakota Sioux] had had a time-window and they could see the future... and they could see their kids committing suicide at the highest suicide rates in the nation... because they were hopeless and they were a dead-end society -- which is what is happening now -- they would have fought a lot harder.<a href="#_ftn2" name="_ftnref2" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[2]</font></span></a>&nbsp;</div></blockquote><div><br /></div><div>...because the only thing to be done about those hopeless, dead-end Lakota societies (and why is a non-Lakota making that determination?) is to go back to the past and do it over again.</div><div><br /></div><div>It is peculiar that Cameron would suggest that the Lakota, of all people, needed more heroic stories. The Lakota are the people of Crazy Horse, Sitting Bull, Red Cloud, Zitkala-Sa, Leonard Peltier, John Trudell, and Mary Crow Dog: we do not need a Jake Scully, nor a James Cameron, to inspire us. I could not express it better than DeepaD, who has observed:&nbsp;</div><div><br /></div><blockquote class="webkit-indent-blockquote" style="margin: 0 0 0 40px; border: none; padding: 0px;"><div>It is not that the colonised did not have enough stories of resistance to inspire them to become heroes. The problem was that the colonialists did not have enough stories of repentance and rethinking to prevent them from becoming monsters.<a href="#_ftn3" name="_ftnref3" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[3]</font></span></a> </div></blockquote><div><br /></div><div>Unfortunately, the settler-colonial obsession with beginnings, do-overs, and what-I-would-have-dones often short-circuits action. <a href="http://deepad.dreamwidth.org/65214.html">DeepaD summarizes</a> the various ways these fantasies can serve the status quo; I wish to highlight two specific issues.</div><div><br /></div><div>First, the framing of these narratives propagates the myth that these are not contemporary issues. As much as Cameron's remarks about the Lakota irritate me, I will give him this: he made those remarks in defense of the <a href="http://www.boston.com/bigpicture/2008/05/indigenous_brazilians_protest.html">indigenous peoples who have been fighting against the Xingu river dam</a>, a battle that they even now may be losing. A photo has been circulating recently of Chief Raoni crying in response to Brazilian approval for the dam's construction. I will not link the photo -- Raoni is attempting to shield his face, and presumably his grief, from the cameras -- but I cannot help but contrast the iconic staged tear of <a href="http://en.wikipedia.org/wiki/Keep_America_Beautiful">a faux-Indian transported from the unreachable past</a> with Chief Raoni's very real and contemporary anguish.&nbsp;</div><div><br /></div><div>Secondly, this obsession with would-have-dones obscures the possibility of could-yet-do. Over and again during discussions of indigenous issues, I hear the question, "What would you have us do? Give all the land back?" There is an odd, belligerent helplessness in that question, an implication that this one action, and thus all action, is impossible. Each time I am asked this, I wonder: is that truly the only possibility that you can imagine, un-flowing all the water from under the bridge?</div><div><br /></div><div>Perhaps it is.</div><div><br /></div><div>Continuing the quote with which I introduced this article, Patricia Nelson Limerick offers a remedy for the water-under-the-bridge school of history:</div><div><br /></div><blockquote class="webkit-indent-blockquote" style="margin: 0 0 0 40px; border: none; padding: 0px;"><div>There is a simple corrective to this widespread pattern of defeatism. The corrective is as simple as pointing out that the river of time has not stopped flowing. The river continues to flow toward the bridge and under it, and every moment presents a fresh opportunity to find a fresh, and better, way of living in that flow of time.&nbsp;</div></blockquote><div><br /></div><div><i>The river of time has not stopped flowing</i>.</div><div><br /></div><div>O ye who speculate, I ask this of you: as you stand on that bridge, time and possibilities flowing under your feet, drag your gaze away from the would-have-dones long since drained to the ocean, and look <i>down</i>. Tell us of the fresh possibilities flowing beneath your feet. Or, if this stretch of the river seems dammed and polluted and therefore without possibility, then look upstream to where the possibilities are still free-flowing, and tell us of the things we could yet do. Tell us of the rivers we <i>could</i> have, if we had but the commitment and cleverness to allow them to be.</div><div><br /></div><div>Those are the stories I crave. As long as time is still flowing, I have no need for defeatism. But I would wish to know that you, the people who have inherited this history with me, the people who would imagine new futures for us all--- I would know that you believe that time is still flowing, too.</div><div><br /></div><div><br /></div><div><i>Top image: Xingu River, courtesy of Flickr user Leonardo F. Freitas</i></div><div><br /></div> ]]>
        
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<entry>
    <title>Disappearing Natives: Notes for Future SF&amp;F Stories</title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/periscope/2012/01/disappearing-natives-notes-for-future-sff-stories.php" />
    <id>tag:www.socialtextjournal.org,2012:/periscope//6.1765</id>

    <published>2012-01-04T06:02:00Z</published>
    <updated>2012-01-12T20:05:43Z</updated>

    <summary>The Natives should have died off by now. To still be alive is a miracle. Can you taste two billion year old air on your breath or the remnants of primordial seas in your sweat? Do you feel e-coli breaking bread in your bowels? Does your heart synch up with these words, these poetic echoes of ancient ancestors? Self and other, simultaneously...</summary>
    <author>
        <name>Andrea Hairston</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=6&amp;id=711</uri>
    </author>
    
        <category term="Speculative Life" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="indigeneity" label="indigeneity" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="sf" label="sf" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="sourcecode" label="source code" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="speculation" label="speculation" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="storytelling" label="storytelling" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.socialtextjournal.org/periscope/">
        <![CDATA[<blockquote class="webkit-indent-blockquote" style="margin: 0 0 0 40px; border: none; padding: 0px;"><div><i><br /></i></div><div><i>here on this bridge between</i></div><div><i>starshine and clay,</i></div><div><i>my one hand holding tight</i></div><div><i>my other hand; come celebrate&nbsp;</i></div><div><i>with me that everyday</i></div><div><i>something has tried to kill me and has failed&nbsp;</i></div><div>Lucille Clifton<a href="#_ftn1" name="_ftnref1" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[1]</font></span></a></div></blockquote><div><br /></div><div>The Natives should have died off by now. To still be alive is a miracle. Can you taste two billion year old air on your breath or the remnants of primordial seas in your sweat? Do you feel e-coli breaking bread in your bowels? Does your heart synch up with these words, these poetic echoes of ancient ancestors? Self and other, simultaneously...</div><div><br /></div><div>The great acting teachers of my youth, Viola Spolin and Joe Chaikin, urged us to feel self with self. Chaikin<a href="#_ftn2" name="_ftnref2" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[2]</font></span></a> believed we become the places we've been, the people we've known, the characters we play. A Zulu saying agrees: <i>umuntu ngumuntu ngabantu</i>: "a person is a person through (other) persons." Leopold Senghor also famously declared, "I feel the other, I dance the other, therefore I am."<a href="#_ftn3" name="_ftnref3" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[3]</font></span></a> Acting is a bridge from self to other. Knowledge is embodied. Meaning is a performance, a moment of exchange. We do this from public stages and in the theatre of mind/body. Feeling self with self in a world of pain and triumph requires more than I can manage some days. You too, perhaps?&nbsp;</div><div><br /></div><div>Something is trying to kill me every day, but the Natives have not vanished.</div><div><br /></div><div>As I sit down to write about selfhood and distant techno-information replacing local wisdom, about the mono-cultural imperatives of colonialism and global capitalism, I am bored with despair. Even an academic rant doesn't appeal. I am haunted by the blasted body of a once handsome white male soldier encased in/attached to an iron-lung-like black box. This image comes from the fiction film, <i>Source Code</i>, but works as "real" to me. Captain Colter Stevens (Jake Gyllenhaal) is someone I know intimately for 93 minutes. Stevens' pain, joy, exploitation, triumph fill the theatre of my mind/body. Actually Stevens' body is a legless torso with stubs for arms and an injured skull... the barely living remains of a helicopter pilot shot down in the Afghanistan war. A tangle of wires feed in and out of his body, providing breath and sustenance, but also offering access to other bodies in parallel universes, where other (alternate?) realities play out. Forcing access, I should say. Steven's shattered being is not under his control. Again and again, the protagonist-body, the person, the decorated, severely wounded white male soldier must ride a train about to blow up. He must live the explosion-death of another body--a body similar to his own, straight white middle class male. Imagine Gyllenhaal dropping into the body of an old Chinese lesbian. Would that be a blockbuster?&nbsp;</div><div><br /></div><div>In between (simultaneous to?) riding the ghost train and coming to know the people who get blown up, Stevens is trapped in a crashed cockpit/escape pod, unaware of the black box life support. Three disjointed selves. It's torture. Stevens can't make sense of what is happening. His tormenters are military/scientist/spies: cool, dispassionate, Techno-wizards, citizens of empire, wielding their mighty post-industrial military genius to hunt down a terrorist who could bring their precarious empire to a stuttering halt with a dirty nuclear bomb.</div><div><br /></div><div>Watching <i>Source Code</i> and recent SF films like <i>Moon</i> and <i>The Adjustment Bureau</i>, I am struck by the angst of the straight white male characters who should benefit from the current set-up, who should, with intelligence, physical beauty, heterosexuality, and economic access, be basking in deep privilege as the premier subjects of 21st century societies. Instead, these characters are ruthlessly exploited, by cold, distant, military industrialists. Techno-wizards (or, in the case of <i>Adjustment Bureau</i>, grey-suited "Angel" figures acting like corporate operatives) colonize the heroes for profit, technical/strategic advantage, or the so-called greater good. The heroes of these films are supposed to submit obediently to their colonization. Knowledge of the "big picture" is kept from them. The science/magic that affords the Techno-wizards and Angels immense power is not freely shared. The heroes rebel. They would be subjects of their own lives. A white woman, a robot servant, and a black male Angel aid them in defying empire. Using intuition, passion, and experience, the heroes glean knowledge from glitches in the system and eventually escape through said glitches.</div><div>&nbsp;</div><div>Dismantling or reconfiguring the system is not an option.&nbsp;</div><div><br /></div><div>Rebelling against evil corporate techno-wizardry or against humanity becoming machine-like is a favored SF film narrative.<a href="#_ftn4" name="_ftnref4" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[4]</font></span></a> Critiquing/questioning technology often garners the critic an anti-technology, anti-progress label. The Luddites, for example, were not against technology but for decent wages and a good worker/technology interface.<a href="#_ftn5" name="_ftnref5" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[5]</font></span></a> &nbsp;Humans are tool-makers. To be anti-technology is to be anti-human. Our tools transform our environment, make the future, and create new human selves. Language/culture is perhaps our most profound tool, sustaining and creating our humanity. Humans co-evolve with our tools. Story is ubiquitous non-linear technology. The stories we tell (in every format) tell us how to be, shaping the stories we then tell. We are the selves possible in our story world...like the tragic tale of the regrettable, but inevitable demise of local or indigenous wisdom. In this long-running story, "progress" means replacing a local, experiential, concrete epistemology with a distant, virtual, and abstract way of knowing the world. Absentee cultural landlords colonize our minds, monetize our experiences, and collect our spirits for rent.<a href="#_ftn6" name="_ftnref6" title="" style="text-decoration: none; "><span class="MsoFootnoteReference"><font class="Apple-style-span" style="font-size: 0.8em; ">[6]</font></span></a></div><div><br /></div><div>In the Disappearing Native Narrative (DNN), so-called body knowledge (intuition, passion, compassion, experience, non-linear metaphor) is pitted against reasoning (linear, literal deduction, dispassionate objectivity, logical reflection). Reasoning processes are not conceived as body knowledge. Calculating truth is superior to dancing truth. In postmodern empire, the metaphorical mind is neglected, disparaged but still operating. The literal mind garners full cultural support. The metaphorical mind is childish, playful, primitive, and feminine. The metaphorical mind is to be colonized and dominated by the superior, rational, literal mind. Thus the "Native" in all of us can be indulged, but never allowed free reign, never allowed to define reality, our society. We mourn this loss, but liberating "Native" impulses threatens empire.</div><div><br /></div><div>According to the DNN, long ago, we were all spirit-beings. Our specific stories were rich with hard-earned communal wisdom that emerged from particular lived experiences. &nbsp;Supposedly, the noble (savage/wild) cultures of say Africans, Native Americans, and Australian Aborigines are the last to disappear. Google for truth now. Beyond the gates of postmodernity we are all consumers and commodities, an exploitable resource of empire.&nbsp;</div><div><br /></div><div>Mythology is powerful technology. Empire uses its dominant mythology to ignore, repress, defuse, denature, destroy alternate stories/realities.</div><div><br /></div><div>In <i>Source Code</i>, Stevens uses the technology that enslaves him to liberate himself and save the people on the ghost train. Knowing them only eight minutes, again and again, Stevens comes to love them. They become part of him. The Techno-wizards prophesized their inevitable demise--<i>in every possible reality</i>, but Stevens creates an alternate reality, writes a story he would like to live.&nbsp;</div><div><br /></div><div>Too few popular film narratives feature old Chinese lesbians, young Caribbean men, or Igbo women shapeshifters as "Native" protagonists using their embodied knowledge <i>and</i> techno-wizardry to defeat the empire that would colonize them. Realism is what folks are willing to believe on screen (stage or page) and off. Being absent from the blockbuster films, from the stories of our lives, we-- Cherokee gay men, fat white women with zits, poor child laborers, could disappear, become unreal. But at WisCon--the feminist science fiction convention held every May in Madison, Wisonsin -- I ran into novelists such as Timmi Duchamp, Nnedi Okorafor, and Geoff Ryman who stand on the "bridge between starshine and clay." They (and writers like Nalo Hopkinson, N.K. Jemison, Ursula K. Le Guin) keep company with me as we create a bridge to alternate realities with "Native" protagonists. The inevitable demise does not happen. The Natives do not disappear. Readers are dropped into bodies similar to or unlike their own. Dancing the other, feeling the other, they become themselves and celebrate that we have not been killed.</div><div><br /></div><div><div><i>Andrea Hairston is the Louise Wolff Kahn 1931 Professor of Theatre and Afro-American Studies at Smith College. She is Artistic Director of Chrysalis Theatre. Her plays have been produced at Yale Rep, Rites and Reason, the Kennedy Center, StageWest, and on Public Radio and Television. She has published SF &amp; F essays, a short story, and two novels: </i>Mindscape<i> which won the Carl Brandon Parallax Award and was shortlisted for the Phillip K Dick and the Tiptree Awards; and </i>Redwood and Wildfire<i> which was published in 2011.</i></div></div><div><br /></div><div><br /></div><div><i><font class="Apple-style-span" style="font-size: 1em; ">Top image courtesy of Flickr user The Rusty Projector</font></i></div><div><br /></div> ]]>
        
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<entry>
    <title>Saudi billionaire Alwaleed Bin Talal Invests $300 Million In Twitter</title>
    <link rel="alternate" type="text/html" href="http://www.socialtextjournal.org/the_skim/2011/12/saudi-billionaire-alwaleed-bin-talal-invests-300-million-in-twitter.php" />
    <id>tag:www.socialtextjournal.org,2011:/the_skim//13.1755</id>

    <published>2011-12-19T17:16:37Z</published>
    <updated>2011-12-19T17:19:39Z</updated>

    <summary>Saudi billionaire Prince Alwaleed bin Talal invests $300 million in Twitter, though at the time of this announcement &quot;it wasn&apos;t clear how much of Twitter the prince will control.&quot;...</summary>
    <author>
        <name>Michael Ralph</name>
        <uri>http://www.socialtextjournal.org/cgi-bin/mt/mt-cp.cgi?__mode=view&amp;blog_id=13&amp;id=10</uri>
    </author>
    
    
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        <![CDATA[Saudi billionaire Prince Alwaleed bin Talal invests <a href="http://www.huffingtonpost.com/2011/12/19/alwaleed-bin-talal-twitter_n_1157205.html?ref=daily-brief?utm_source=DailyBrief&amp;utm_campaign=121911&amp;utm_medium=email&amp;utm_content=NewsEntry&amp;utm_term=Daily%20Brief">$300 million</a> in Twitter, though at the time of this announcement "it wasn't clear how much of Twitter the prince will control." ]]>
        
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