911: A Public Emergency (Social Text 72) by Jasbir K.Puar, Zillah Eisenstein, Rosalind C.Morris, Judith

By Jasbir K.Puar, Zillah Eisenstein, Rosalind C.Morris, Judith Butler, Muneer Ahmad, Meena Alexander, Lopamudra Basu, Sandrine Nicoletta, Yigal Nizri, Ban Wang

For the reason that September eleven, public discourse has usually been framed when it comes to absolutes: an age of innocence provides strategy to a gift less than siege, whereas the U.S. and its allies face off opposed to the Axis of Evil. This exact 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 enhance an antiterrorism stance that recognizes the legacy of U.S. exchange and international coverage in addition to the range of the Muslim religion and the risks awarded via fundamentalism of all kinds.Examining the strengths and shortcomings of zone, race, and gender stories within the look for realizing, this factor considers cross-cultural feminism as a way of battling terrorism; racial profiling of Muslims within the context of different racist logics; and the homogenization of dissent. the difficulty contains poetry, photographic paintings, and a piece of writing by means of Judith Butler at the discursive area surrounding the assaults of September eleven. This notable 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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So the violence of Partition was there in the memories of those who raised me, even though we are from the south of India. The trains that crossed the borders, filled with the dead. Women abducted, families forced into refugee camps. Also more recent events. There is a prose poem in Illiterate Heart called “Taxicabwallah,” which is really a meditation on the events of 1984 in Delhi, and the massacres of Sikhs that occurred after the assassination of Indira Gandhi. These become part of the migrant memory of the taxicabwallah in New York City, so too the ghosts of Partition.

Meanwhile, the gigantic system of mass media is also migrating across — or rather pushing its way through — what it would like to see as a borderless world. A quarter of a century ago, Herbert Schiller presciently revealed how free flows of information sponsored by the American media obscured economic inequality, power imbalance, regional unevenness, and postcolonical struggle in self-determination. Media-induced flows of information seemed to bring together into a global village the rich and poor, the powerful and powerless, and peoples of different colors and beliefs.

I think for me writing a poem is like rinsing the language. In India, after you rinse, the clothes are hung out in a line in the sunlight. Perhaps presenting a poem in public space is like hanging it out in the sunlight because people can say what they want and do what they want with it. Speaking of the outside and public space, there is an exhibit in February and March [2002] in the Deutsche Bank. ” There are poems by several poets as well as work by visual artists. Two poems that I wrote, “Invisible City” and “Aftermath,” will be hung on a wall.

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