Distant Wars Visible: The Ambivalence of Witnessing (Critical American Studies)
Wendy Kozolamazon.com
Distant Wars Visible: The Ambivalence of Witnessing (Critical American Studies)
I am interested in how we imagine ways of knowing that past, in excess of the fictions of the archive, but not only that. I am interested, too, in the ways we recognize the many manifestations of that fiction and that excess, that past not yet past, in the present.
Christina Sharpe • In the Wake: On Blackness and Being
While the U.S. military visually documented islanders and made them visible as colonial subjects during wartime, it did not subject them to a categorizing or classificatory gaze.
Adria L. Imada • Aloha America: Hula Circuits through the U.S. Empire
I think it’s also important to admit, to attest to, and to [bear] witness to the violence of the archive of slavery, which is about erasure. There are tick marks instead of names; it’s all about the slave’s relationship to the accumulation of wealth for another. The archive doesn’t tell us the story of someone’s life.
Bettina Judd • On
Susan Sontag writes, “Abuse of the military metaphor may be inevitable in a capitalist society, a society that increasingly restricts the scope and credibility of appeals to ethical principle, in which it is thought foolish not to subject one’s actions to the calculus of self-interest and profitability.”
Eula Biss • On Immunity: An Inoculation
Sometimes she took odd pictures. She wrote strange things down. She collected scraps of stories and inexplicable memorabilia that appeared to have no purpose. There seemed to be no pattern or theme to her interest. She had no set task, no project. She was not writing for a newspaper or magazine, she was not writing a book or making a film. She paid
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