After critique. Twenty-first-century fiction in a neoliberal by Mitchum Huehls

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 kinds, yet as a rule After Critique highlights a physique of literature-work from Colson Whitehead, Uzodinma Iweala, Karen Yamasthia, Helena Viramontes, Percival Everett, Mat Johnson, Kim Stanley Robinson, Read more...

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taking on 4 varied political themes-human rights, the relation among private and non-private house, racial justice, and environmentalism-After Critique means that the ontological varieties emerging Read more...

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Nevertheless, he also grants it the power “to crack open the carapace of human self-concern, exposing it to the idea, and maybe even the fact, of its external ontological preconditions, its ground” (380). For McGurl, this occurs primarily through the human’s confrontation with a “new cultural geology” that positions the human relative to billions of years of geologic time and space. After Critique suggests that humans might learn the ontological lessons of exomodernism not just from geology, but also from neoliberalism.

After Critique is similarly committed to a non-vitalist mode of ontological value production that maintains just such meaningful difference in immanence. In this way, After Critique distinguishes itself from theorists of virtuality and becoming, and also from theories of affect which tend to have rather fuzzy accounts of value production because of their focus on the immanence of precognition. 17 Additionally, the differential spaces between discrete ontologies in the Latourian network are not potential sites for immanent critique to animate a process of dialectical change.

The voiceover tells us: “Companies used to view us as demographics because they couldn’t see what made people different. ” Another commercial in the same campaign reveals a savvy young woman performing various transactions on her phone and tablet while viewers see her words directed to some hypothetical company: “Do you know me? Not my demographic. Not my type, my segment, or my profile. Me. Because the better you know me, the more ways you’ll find to make me happy. And I’m so much more than data.

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