Kindred Specters

The refusal to recognize kinship relations among slaves, interracial couples, and same-sex partners is steeped in historical and cultural taboos. In Kindred Specters, Christopher Peterson explores the ways in which non-normative relationships bear the stigma of death that American culture vehemently denies. Probing Derrida's notion of spectrality as well as Orlando Patterson's concept of "social death," Peterson examines how death, mourning, and violence condition all kinship relations. Through Charles Chesnutt's The Conjure Woman, Peterson lays bare concepts of self-possession and dispossession, freedom and slavery. He reads Toni Morrison's Beloved against theoretical and historical accounts of ethics, kinship, and violence in order to ask what it means to claim one's kin as property. Using William Faulkner's Absalom, Absalom! he considers the political and ethical implications of comparing bans on miscegenation and gay marriage. Tracing the connections between kinship and mourning in American literature and culture, Peterson demonstrates how racial, sexual, and gender minorities often resist their social death by adopting patterns of affinity that are strikingly similar to those that govern normative relationships. He concludes that socially dead "others" can be reanimated only if we avow the mortality and mourning that lie at the root of all kinship relations. Christopher Peterson is visiting assistant professor of literature at Claremont McKenna College.

In Specters of God, John D. Caputo returns to the original impulse of his work, the "mystical element" in things, here under the name of an "anxious apophatics," as distinct from an "edifying apophatics" anchored in unity with God. In dialogue with Schelling, a new turn for him and the lynchpin of this argument, Caputo addresses the nocturnal powers in being, the specters that haunt our being and bring us up short. The result is an erudite and insightful analysis—in his usual lively and masterful style—of several key "spectral" figures from medieval angelology and Eckhart's Gottheit, through Luther's deus absconditus and Schelling's "Satanology," to the spectralization and virtualization of the world in the "posthuman" age. Arguing that the name of God is not the master name of a super-being who is going to save us but a placeholder for sources deep in our apophatic imaginary, he asks, Has "God" become a (holy) ghost of the past? A passing spectral effect of the ancient harmonies of the spheres? Does radical thinking culminate in a cosmopoetics beyond theism and its theology, in a doxology to the transient glory of the world, whatever it was in the beginning, however eerie its end, world without why?

American Blood argues that many nineteenth-century authors challenged preconceptions of the family and portrayed it as a detriment to true democracy and, by extension, the political enterprise of the United States.

This book examines representations of the specter in American twentieth and twenty-first-century fiction. David Coughlan’s innovative structure has chapters on Paul Auster, Don DeLillo, Toni Morrison, Marilynne Robinson, and Philip Roth alternating with shorter sections detailing the significance of the ghost in the philosophy of Jacques Derrida, particularly within the context of his 1993 text, Specters of Marx. Together, these accounts of phantoms, shadows, haunts, spirit, the death sentence, and hospitality provide a compelling theoretical context in which to read contemporary US literature. Ghost Writing in Contemporary American Fiction argues at every stage that there is no self, no relation to the other, no love, no home, no mourning, no future, no trace of life without the return of the specter—that is, without ghost writing.

Modernist Mysteries: Pers?phone is a landmark study that will move the field of musicology in important new directions. The book presents a microhistorical analysis of the premiere of the melodrama Pers?phone at the Paris Opera on April 30th, 1934, engaging with the collaborative, transnational nature of the production. Author Tamara Levitz demonstrates how these collaborators-- Igor Stravinsky, Andr? Gide, Jacques Copeau, and Ida Rubinstein, among others-used the myth of Persephone to perform and articulate their most deeply held beliefs about four topics significant to modernism: religion, sexuality, death, and historical memory in art. In investigating the aesthetic and political consequences of the artists' diverging perspectives, and the fall-out of their titanic clash on the theater stage, Levitz dismantles myths about neoclassicism as a musical style. The result is a revisionary account of modernism in music in the 1930s. As a result of its focus on the collaborative performance, this book differs from traditional accounts of musical modernism and neoclassicism in several ways. First and foremost, it centers on the performance of modernism, highlighting the theatrical, performative, and sensual. Levitz places Christianity in the center of the discussion, and questions the national distinctions common in modernist research by involving a transnational team of collaborators. She further breaks new ground in shifting the focus from "history" to "memory" by emphasizing the commemorative nature of neoclassic listening rituals over the historicist stylization of its scores, and contends that modernists captured on stage and in philosophical argument their simultaneous need and inability to mourn the past. The book as a whole counters the common criticism that neoclassicism was a "reactionary" musical style by suggesting a more pluralistic, ambivalent, and sometimes even progressive politics, and reconnects musical neoclassicism with a queer classicist tradition extending from Winckelmann through Walter Pater to Gide. Modernist Mysteries concludes that 1930s modernists understood neoclassicism not as formalist compositional approaches but rather as a vitalist art haunted by ghosts of the past and promissory visions of the future.

Uses comparative narratives to explore the dualism between marginalization and the desire for roots within a rooted identity

Carved from a piece of pine by a woodcarver named Geppetto in a small Italian village, Pinocchio was created as a wooden puppet, but dreamt of becoming a real boy.

In Unsettled States, Dana Luciano and Ivy G. Wilson present some of the most exciting emergent scholarship in American literary and cultural studies of the “long” nineteenth century. Featuring eleven essays from senior scholars across the discipline, the book responds to recent critical challenges to the boundaries, both spatial and temporal, that have traditionally organized scholarship within the field. The volume considers these recent challenges to be aftershocks of earlier revolutions in content and method, and it seeks ways of inhabiting and amplifying the ongoing unsettledness of the field. Written by scholars primarily working in the “minor” fields of critical race and ethnic studies, feminist and gender studies, labor studies, and queer/sexuality studies, the essays share a minoritarian critical orientation. Minoritarian criticism, as an aesthetic, political, and ethical project, is dedicated to finding new connections and possibilities within extant frameworks. Unsettled States seeks to demonstrate how the goals of minoritarian critique may be actualized without automatic recourse to a predetermined “minor” location, subject, or critical approach. Its contributors work to develop practices of reading an “American literature” in motion, identifying nodes of inquiry attuned to the rhythms of a field that is always on the move.