By David Kazanjian, David L. Eng
Taking inventory of a century of pervasive loss--of struggle, sickness, and political strife--this eloquent publication opens a brand new view on either the earlier and the longer term by means of contemplating "what is lost" when it comes to "what remains." any such viewpoint, those essays recommend, engages and reanimates historical past. Plumbing the cultural and political implications of loss, the authors--political theorists, movie and literary critics, museum curators, feminists, psychoanalysts, and AIDS activists--expose the humane and effective chances within the workings of witness, reminiscence, and melancholy.
Among the websites of loss the authors revisit are slavery, apartheid, genocide, warfare, diaspora, migration, suicide, and disorder. Their topics diversity from the Irish Famine and the Ottoman slaughter of Armenians to the aftermath of the Vietnam struggle and apartheid in South Africa, difficulties of partial immigration and assimilation, AIDS, and the re-envisioning of leftist pursuits. particularly, Loss reveals how melancholia can lend that means and strength to notions of activism, ethics, and id.
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Additional resources for Loss: The Politics of Mourning
And this temptation is itself the temptation of a violation, for names are normally that which resist translation, their singularity and their promise of an identity between word and thing is precisely what makes them names and not merely words among others. To make “Nai Phi” signify, to render it as the “Master of Spirits,” is to refuse it the status of the proper name. But it would be wrong to think that this act of translation, with its encrypted belief in the possibility of absolutely transparent meaning, is a feature of the movement between Thai and English.
The magical speech of the master is shadowed by a malevolent gossip, which nonetheless has the additional capacity of inciting itself, elsewhere, in the babble of idiots. ” In this latter poem, too, the phantom risk that is conjured is that in which truth and 42 rosalind c. morris appearance, or, in the Thai Buddhological idiom, rupatham and namatham, will become indistinguishable. Yet, if Nai Phi’s poetry repeatedly warns against and imagines the failure of such a distinction, it also seems to resist the more facile versions of socialist realism that are so frequently associated with him in Thai literary critical circles.
From the very ﬁrst poem, the volume is haunted by the enigmatic form of the Master of Spirits. His elusive apparition in the opening stanza of the ﬁrst poem, as well as his subsequent disappearance, then reappearance in the following poem, performs what is a recurrent trope in the volume: namely, that of the trickster at the limits of vision. He is the object of both attraction and disavowal, one whose tongue enchants and speaks the truth, but one who is, in the end, embattled by the gluttony and the dissimulations of a crowd that has not yet converted itself into the mass of revolutionary possibility.