If The Future Is A Fetish

Poetry. LGBTQIA Studies. Women's Studies. In her debut poetry collection, IF THE FUTURE IS A FETISH, Sgro explores a vision of motherhood severed from conventional ideas of partnership and family. Between tales of fraught monogamy and fleeting first fucks, she depicts the mother as a figure steeped in loss, depression, and dynamic sexual identity, bearing memory and trauma as their own kind of offspring. Collaging words from plant life experts, adolescent psychologists, and scholars, Sgro reckons with a longing for the future that is invested in queer desire, maternal drives, and the spaces in between. "Why are the poet and the poem so toxic and damned? Because they are carriers, processing liquid flushed from pleasure and damage. Sgro is opening space inside toxicity. When the space is born an impure baby, the poet wants the baby. The baby is a fetus, a fetish, a trauma-processing plant, a poem. The poems within IF THE FUTURE IS A FETISH rage, pull back, smash down. It's an open system. Sgro's thrilling, monstrous poems are coming to touch you."--Catherine Wagner "For trauma survivors, our futures eroticize that which we lived through, scored as we are by our bodies' pasts. Survival must affirm that future. In IF THE FUTURE IS A FETISH, we experience a gravid violence, Sgro's speaker the queer anorexic mother pulsating meaning into 'basement operas' and 'tenderilous' growth. This is a psychosexual novel-in-verse, one displeased with its phenomenologies but chanting them anyway. It wretches in Plathian disgust; coats its throat in 2 mg of Xanax; and consumes its daughters with Goya-level anguish. Paperclips itch under wrist skin, women soak through their True Religion jeans, an assemblage of lovers--J., A., M., and X.--function as a Greek chorus of S.'s sexual failings; and still, 'the world returns like a dog to its vomit.' Rarely do I read a collection so succinct in its viscera, where there is a math to every gory line. How lucky am I to have read Sgro who writes with annihilating purpose about the body in absence, violation, vexation, abundance, and martyrdom. This debut collection is a lingual maelstrom, its music a steady waltz over the future's piss."--Natalie Eilbert

A handsome collection showcasing the work of one of the fashion world’s foremost illustrators and art directors. François Berthoud is recognized as one of the most original illustrators of his time, known for erotica and romantic fashion illustration. His painstakingly produced, meticulously arranged linocuts and his expressive drip paintings have graced Vogue, Numéro, Visionaire, and Interview, among others. He has also created images for such leading brands as Yves Saint Laurent, Bulgari, Chanel, Givenchy, Sonia Rykiel, and Prada. Emerging in the 1980s, Berthoud has a distinct style that fuses fashion and erotica and was championed by the legendary Italian fashion editor Anna Piaggi. Showcasing more than thirty years of work, this collection includes an illuminating conversation with the artist, making it unique in the study of Berthoud as a cultural and artistic icon.

This work argues that the orthodox interpretation of classical fetishism is not and never has been up to the task of explaining all cultural fetishisms. It identifies several different forms of fetishism and accounts for its sometimes radical edge.

Longlisted for the 2022 PEN/Hemingway Award for Debut Novel An embittered dog walker obsessed with a social media influencer inadvertently puts a curse on a young man—and must adventure into mysterious dimension in order to save him—in this wildly inventive, delightfully subversive, genre-nonconforming debut novel about illusion, magic, technology, kinship, and the emergent future. The year is 20__, and Penfield R. Henderson is in a rut. When he's not walking dogs for cash or responding to booty calls from his B-list celebrity hookup, he's holed up in his dingy Bushwick apartment obsessing over holograms of Aiden Chase, a fellow trans man and influencer documenting his much smoother transition into picture-perfect masculinity on the Gram. After an IRL encounter with Aiden leaves Pen feeling especially resentful, Pen enlists his roommates, the Witch and the Stoner-Hacker, to put their respective talents to use in hexing Aiden. Together, they gain access to Aiden's social media account and post a picture of Pen's aloe plant, Alice, tied to a curse: Whosoever beholds the aloe will be pushed into the Shadowlands. When the hex accidentally bypasses Aiden, sending another young trans man named Blithe to the Shadowlands (the dreaded emotional landscape through which every trans person must journey to achieve true self-actualization), the Rhiz (the quasi-benevolent big brother agency overseeing all trans matters) orders Pen and Aiden to team up and retrieve him. The two trace Blithe to a dilapidated motel in California and bring him back to New York, where they try to coax Blithe to stop speaking only in code and awkwardly try to pass on what little trans wisdom they possess. As the trio makes its way in a world that includes pitless avocados and subway cars that change color based on occupants' collective moods but still casts judgment on anyone not perfectly straight, Pen starts to learn that sometimes a family isn't just the people who birthed you. Magnificently imagined, linguistically dazzling, and riotously fun, Future Feeling presents an alternate future in which advanced technology still can't replace human connection but may give the trans community new ways to care for its own.

By delving into the history of the fetish-object among both modern and contemporary commentators, this book highlights the fetish-object’s role as a philosophical and religious concept of the highest significance. Historically, fetishes are implicated in specific struggles for sovereign (political) and/or religious (hierarchical) power, with their interwoven symbols defined as the primary location for transcendence in our world. This book defines the political consequences of fetish-objects within a western cultural, and primarily theological context through a comparative approach of various literatures on fetish-objects—anthropological to the psychological, Marxist to the theological. It reconceives of fetishes as a form of resistance to oppressive structures, something which motivated Christians themselves historically, and shaped our western understanding of the sacraments far more than has been acknowledged. Taking up this conversation likewise holds forth the possibility of reconceptualizing how fetish-objects and sacramental presences both speak profoundly to our late-modern selves.

A wedding ceremony in a Web-based virtual world. Online memorials commemorating the dead. A coffee klatch attended by persons thousands of miles apart via webcams. These are just a few of the ritual practices that have developed and are emerging in online settings. Such Web-based rituals depend on the merging of two modes of communication often held distinct by scholars: the use of a device or mechanism to transmit messages between people across space, and a ritual gathering of people in the same place for the performance of activities intended to generate, maintain, repair, and renew social relations. In Online a Lot of the Time, Ken Hillis explores the stakes when rituals that would formerly have required participants to gather in one physical space are reformulated for the Web. In so doing, he develops a theory of how ritual, fetish, and signification translate to online environments and offer new forms of visual and spatial interaction. The online environments Hillis examines reflect the dynamic contradictions at the core of identity and the ways these contradictions get signified. Hillis analyzes forms of ritual and fetishism made possible through second-generation virtual environments such as Second Life and the popular practice of using webcams to “lifecast” one’s life online twenty-four hours a day, seven days a week. Discussing how people create and identify with their electronic avatars, he shows how the customs of virtual-world chat reinforce modern consumer-based subjectivities, allowing individuals to both identify with and distance themselves from their characters. His consideration of web-cam cultures links the ritual of exposing one’s life online to a politics of visibility. Hillis argues that these new “rituals of transmission” are compelling because they provide a seemingly material trace of the actual person on the other side of the interface.

Pop culture may be on the verge of disappearing because of the advent of meme culture as a major platform for the delivery of trends in the arts.

A groundbreaking account of the origins and history of the idea of fetishism. In recent decades, William Pietz’s innovative history of the idea of the fetish has become a cult classic. Gathered here, for the first time, is his complete series of essays on fetishism, supplemented by three texts on Marx, blood sacrifice, and the money value of human life. Tracing the idea of the fetish from its origins in the Portuguese colonization of West Africa to its place in Enlightenment thought and beyond, Pietz reveals the violent emergence of a foundational concept for modern theories of value, belief, desire, and difference. This book cements Pietz’s legacy of engaging questions about material culture, object agency, merchant capitalism, and spiritual power, and introduces a powerful theorist to a new generation of thinkers.