By Mitchum Huehls
After critique' identifies an ontological flip in modern U.S. fiction that distinguishes our present literary second from either postmodernism and so-called post-postmodernism. This flip to ontology takes many varieties, yet often After Critique highlights a physique of literature-work from Colson Whitehead, Uzodinma Iweala, Karen Yamasthia, Helena Viramontes, Percival Everett, Mat Johnson, Kim Stanley Robinson, and Tom McCarthy-that favors presence over absence, being over which means, and connection over reference. those authors' curiosity in generating literary price ontologically instead of representationally stems from their feel that neoliberalism's capacious seize on modern language and discourse-its skill to manage each side of a conceptual debate or argument-has made it approximately very unlikely to write down past neoliberalism's grip. this is often really distressing for authors invested in modern politics as neoliberalism renders any variety of political difficulties circularly undecidable.0Taking up 4 diversified political themes-human rights, the relation among private and non-private area, racial justice, and environmentalism-After Critique means that the ontological varieties rising in modern U.S. fiction articulate a model of politics that would effectively dodge neoliberal appropriation. it is a politics which replaces critique and its reliance on illustration with ontology and its ever-shifting configurations and assemblages. Read more...
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Extra resources for After critique. Twenty-first-century fiction in a neoliberal age
10 Complicit Critique This is of course horrible news for the political left, which finds itself unable to speak truth to power because power has incorporated so many of its potential truths. On the one hand, neoliberal rhetoric cynically ventriloquizes leftist idealism, readily portraying the systematized neoliberal cog exploited by his university as either a selfless team player or a farsighted student committed to self-improvement through education. On the other hand, neoliberal rhetoric is quick to idealize leftist cynicism, readily portraying the entrepreneurial subject’s big payday as either a win for a worker freed from his exploitative labor relationship with the university or as a moment of economic and social uplift.
23 Literature, however, can afford to mean differently; it can experiment with alternative, post-critical forms of value production and continue to thrive as a significant cultural endeavor. In short, the flexibility of literary form demonstrates new ways of thinking through the impasses of neoliberalism. The texts I investigate here do not explicitly set out to signify ontologically. And their shared reluctance to critique certainly doesn’t lead them all to embrace more ontological forms in the same way.
More than mere representation, Quiet Storm’s text is a transmission that alters the landscape rather than just referring to it. Like the zombies whose “inhuman 28 After Critique scroll” argues loudly for their presence, for their inclusion in the city, the non-referential language of this auto text speaks the fact of its own existence, translating Quiet Storm forward and linking her to the things her text comprises as well as to those who encounter it. Readers of such transmissions need not discern the world to which they refer or the meanings they represent.
After critique. Twenty-first-century fiction in a neoliberal age by Mitchum Huehls