The Disintegrations

Four writers, four different perspectives on the problematic notion of purity. "All purity is created by resemblance and disavowal." With this sentence as a starting point, four authors each write a novella considering the concept of purity, all from astonishingly different angles. Jean Marc Ah-Sen writes about love blooming between two writers belonging to feuding literary movements. Emily Anglin explores an architect's search for her twin at a rural historic house. Devon Code documents the Wittgensteinian upheavals of the last days of an elderly woman. And Lee Henderson imagines Dada artist Kurt Schwitters finding unlikely inspiration in a Second World War internment camp in northern Norway. Wildly different in style and subject matter, these four virtuoso pieces give us a 360-degree view of a philosophical theme that has never felt so urgent. “Despite the disparity of their subject matter – a Nazi-evading Dadaist detained in Norway, urban and familial estrangements, complicated love amid the avant-garde, the vicissitudes of old age – these brilliantly inventive, delightfully strange stories cling together like four unlikely soulmates, unified by art’s pursuit of coherence through life’s various disintegrations.” —Pasha Malla, author of Kill the Mall

The United States is undergoing a profound and radical transformation, all features of which point to the fact of its departure at an accelerated rate from its largely self-proclaimed status as a global hegemon. The United States has lost ground in every single category that defines the power and status of a nation in relation to its rivals. This book delves into the reasons for a catastrophic decline of the American nation, addressing a range of factors from the economic (especially energy), to cultural, technological and military factors. America’s deindustrialized economy is now deeply affected by what can only be described as a massacre of her small and middle-size businesses and the implosion of the US commercial aerospace industry. America’s only driver of real growth, the shale oil industry, is facing realities which may make the Great Depression pale in comparison. Disintegration also seeks answers to the precipitous moral and professional decline of the always mediocre qualities of the American elites, from the corridors of political power to those of the military and business, now spiraling out of control. More alarmingly, the trend also points to the possibility of the actual physical disintegration of the United States as a unified entity—whether the divisions are ethnic or ideological. The most profound fault line is cultural—between the Coastal self-proclaimed elites backed by the secular, liberal media and deep state, who promote the most radical ideologies as it concerns gender and race, and the working class majority whom the former polemicize as deplorables, Christian fundamentalists, white supremacists, and climate and science denialists. Investigating these factors sheds light on America’s future which holds very little promise for the country which had once proclaimed itself to be a shining city on the hill. The American collapse is not just coming, we are presently experiencing it. How can we deal with a catastrophe which is unfolding before our very eyes? Disintegration lays out some possibilities.

Following his acclaimed history of the Situationist International up until the late sixties, The Beach Beneath the Street, McKenzie Wark returns with a companion volume which puts the late work of the Situationists in a broader and deeper context, charting their contemporary relevance and their deep critique of modernity. Wark builds on their work to map the historical stages of the society of the spectacle, from the diffuse to the integrated to what he calls the disintegrating spectacle. The Spectacle of Disintegration takes the reader through the critique of political aesthetics of former Situationist T.J. Clark, the Fourierist utopia of Raoul Vaneigem, René Vienet’s earthy situationist cinema, Gianfranco Sangunetti’s pranking of the Italian ruling class, Alice-Becker Ho’s account of the anonymous language of the Romany, Guy Debord’s late films and his surprising work as a game designer. At once an extraordinary counter history of radical praxis and a call to arms in the age of financial crisis and the resurgence of the streets, The Spectacle of Disintegration recalls the hidden journeys taken in the attempt to leave the twentieth century, and plots an exit from the twenty first. The dustjacket unfolds to reveal a fold-out poster of the collaborative graphic essay combining text selected by McKenzie Wark with composition and drawings by Kevin C. Pyle.

This book sets out a concrete analytical and empirical framework to understand the Euro-zone crisis and the deep disintegrative tendencies of Euro-Atlantic neo-imperialism. It explores how the authoritarianism and austerity led from above in the transatlantic world cultivate right-wing populism and racist hysteria from below, especially in relation to the global power-shift to China and other emerging economies. The authors argue that ordoliberal/neo-liberal austerity cannot reverse the decline of western economies; if anything, it precipitates their downfall and the re-launching of globalization under Asian primacy. The book will appeal to students, scholars and policymakers across the fields of International Political Economy, European Politics and Critical Social and Political Theory.

Collected texts by cultural critic, auto/biographer, and lesbian icon Jill Johnston. Jill Johnston—cultural critic, auto/biographer, and lesbian icon—began her career at the Village Voice as a critic of dance and performance, writing about Merce Cunningham, Martha Graham, the activities at Judson Church, Allan Kaprow and Happenings, Fluxus, and the downtown New York art scene. The column eventually became more personal than critical, allowing her to discuss her life, her sexuality, and her politics. This book brings together thirty texts Johnston wrote for the Voice between 1960 and 1974, beginning with her early dance coverage and continuing though the time when, as she put it, the column moved “from the theatre of dance and happenings toward the theatre of my life.” As Johnston abandoned an objective critical standpoint, her column interwove forms and formats, and political, literary, art-historical, and critical perspectives, taking turns and loops, reflecting its time and contexts—with the one constant being Johnston's unmistakable, witty, intimate voice. As a person and as a writer she pioneered a model that not only challenged notions of writerly appropriateness but also performed and created a new lesbian identity. T his collection also includes texts by Ingrid Nyeboe, Johnston's long-time partner and spouse; Bruce Hainley; and Jennifer Krasinski. An appendix collects material related to a 1969 panel discussion organized by Johnston (featuring Andy Warhol, Ultra Violet, and Carolee Schneemann, among others) that gives this volume its title: “The Disintegration of a Critic: An Analysis of Jill Johnston.” Copublished with Bergen Kunsthall

The African American population in the United States has always been seen as a single entity: a “Black America” with unified interests and needs. In his groundbreaking book, Disintegration, Pulitzer-Prize winning columnist Eugene Robinson argues that over decades of desegregation, affirmative action, and immigration, the concept of Black America has shattered. Instead of one black America, now there are four: • a Mainstream middle-class majority with a full ownership stake in American society; • a large, Abandoned minority with less hope of escaping poverty and dysfunction than at any time since Reconstruction’s crushing end; • a small Transcendent elite with such enormous wealth, power, and influence that even white folks have to genuflect; • and two newly Emergent groups—individuals of mixed-race heritage and communities of recent black immigrants—that make us wonder what “black” is even supposed to mean.

Canada's representative democracy is confronting important challenges. At the top of the list is the growing inability of the national government to perform its most important roles: namely mapping out collective actions that resonate in all regions as well as enforcing these measures. Others include Parliament's failure to carry out important responsibilities, an activist judiciary, incessant calls for greater transparency, the media's rapidly changing role, and a federal government bureaucracy that has lost both its way and its standing. Arguing that Canadians must reconsider the origins of their country in order to understand why change is difficult and why they continue to embrace regional identities, Democracy in Canada explains how Canada's national institutions were shaped by British historical experiences, and why there was little effort to bring Canadian realities into the mix. As a result, the scope and size of government and Canadian federalism have taken on new forms largely outside the Constitution. Parliament and now even Cabinet have been pushed aside so that policy makers can design and manage the modern state. This also accounts for the average citizen's belief that national institutions cater to economic elites, to these institutions' own members, and to interest groups at citizens' own expense. A masterwork analysis, Democracy in Canada investigates the forces shaping the workings of Canadian federalism and the country's national political and bureaucratic institutions.

Analysis of this important Mexican philosopher's social, cultural, and political writings.