By Jasbir K.Puar, Zillah Eisenstein, Rosalind C.Morris, Judith Butler, Muneer Ahmad, Meena Alexander, Lopamudra Basu, Sandrine Nicoletta, Yigal Nizri, Ban Wang
Due to the fact September eleven, public discourse has usually been framed when it comes to absolutes: an age of innocence supplies solution to a gift below siege, whereas the U.S. and its allies face off opposed to the Axis of Evil. This specified factor of Social textual content goals to maneuver past those binaries towards considerate research. The editors argue that the problem for the Left is to increase an antiterrorism stance that recognizes the legacy of U.S. exchange and international coverage in addition to the variety of the Muslim religion and the risks awarded via fundamentalism of all kinds.Examining the strengths and shortcomings of sector, race, and gender experiences within the look for figuring out, this factor considers cross-cultural feminism as a way of struggling with terrorism; racial profiling of Muslims within the context of different racist logics; and the homogenization of dissent. the difficulty contains poetry, photographic paintings, and an editorial by means of Judith Butler at the discursive area surrounding the assaults of September eleven. This striking variety of contributions questions the which means and implications of the occasions of September eleven and their aftermath.Contributors. Muneer Ahmad, Meena Alexander, Lopamudra Basu, Judith Butler, Zillah Eisenstein, Stefano Harney, Randy Martin, Rosalind C. Morris, Fred Moten, Sandrine Nicoletta, Yigal Nizri, Jasbir okay. Puar, Amit S. Rai, Ella Shohat, Ban Wang
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Additional info for 911: A Public Emergency (Social Text 72)
We touch the bodies of our dead, the precious fragments of flesh. But then there comes the time to stand apart. To rejoin the rhythms of the inner life, to allow them to work their ceaseless change. In my case there came a period of very quick writing and jotting down of events. But after writing there came a time of fearful fragmentation, being torn apart in so many directions: the fear here on this island, the condition of our lives, not knowing what could strike next, fire, racial profiling, pestilence — that bitty white powder filled with anthrax spores (a floor of the Graduate Center, since we are next door to the Empire State Building, 32 Lopamudra Basu was shut down for a while).
And the question of fear is important, as these are poems that deal with traumatic events. I have put aside the longish prose piece I was working on, a piece about childhood. After what has just happened in New York City I did not want to be swallowed up in the past, with so much molten and flowing all around, the world I love in turmoil. I need to bear witness to what is now. The lyric poem allows me much better to catch the edginess of things, the sharp nervosity, the flaming, falling buildings.
LB: You have said you would walk down to Ground Zero. MA: Yes, I kept walking down to Ground Zero, as close as I could get, making returns, a pilgrimage, the site a graveyard for thousands, the stench of burning flesh and wires. On one trip down there as I walked past Liberty Street I was struck by the extreme youth of the soldier guarding the perimeter, a young lad freckled, fresh faced. Behind him was the shell of Tower Two, against which an ancient patriarch was being photographed. Small children screaming in delight at pigeons, a rescue worker, hands on his own throat, face sunk with tiredness, his gas mask at his hip.