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• W242674588 abstract "WHEN JAMES CLIFFORD COINED THE PHRASE DISCREPANT cosmopolitanisms, he had in mind cultures of displacement and transplantation that are inseparable from specific, often violent, histories of economic, political, and cultural (108). Because these histories of interaction are frequently same ones that, at least indirectly, underpin cosmopolitan freedom and prosperity of affluent metropolitan centers, study of discrepant cosmopolitanisms often involves an understanding of how different sites in global economy are related to each other. As Michael Davidson puts it, a bit more bluntly than Clifford, the cosmopolitanism produced through globalization yokes together elite and abject, globe trotting business man or wealthy tourist, as well as migrant laborer, sex worker, and political exile (735). In this essay I want to think about how contemporary fiction encounters this issue. Recent scholarship on relationship between literature and globalization has shown us that novel has never really been securely bound by narrow conceptions of national or regional space. With that in mind it is harder than ever to present terms cosmopolitan, global, or transnational as indexes of a break with an older conception of literary culture. Still, way in which literary studies uses these terms often assumes that they have a normative dimension that has only recently become apparent. What is at stake here are forms of textual practice that, in Shameem Black's words, foster ethically resonant identifications with others (9), and thus revise residual forms of representation that hinge on various modes ofobjectification.This impulse is deeply humanist, and humanizing. And yet, we have known for a long time now that universalizing conceptions of human also underwrite processes of colonialism and neo-colonialism that threaten particular life-worlds with violence, exploitation, dislocation, or eradication, all of which we readily describe as instances of inhumanity. As Pheng Cheah has argued, a universal notion of human and forces that threaten it - embodiments, in other words, of - are products of same set of material relations. The inhuman, Cheah explains, is understood as finite limit of man, a defective feature of human existence that is not proper to true end of man but that we have thus far failed to control (2). Hence cornmodification, technology, totalitarian domination, and like are related to animals, ghosts, death and subhuman, all of which have to be transcended in order to realize freedom assumed as an ideal by cosmopolitanism (2-3). But what Cheah emphasizes is that human/inhuman dyad is part of a fantasy of cosmopolitan becoming that obscures ways in which global capitalism can produce human and simultaneously, precisely because forms of production and accumulation it assumes are based on inequality and hierarchical division of means and ends (263). In this situation, texts that excavate inhuman potential inherent in globalization might offer a set of critical insights quite different from those that cultivate a directly ethical relationship to alterity, precisely because they are bound to discrepancies within cosmopolitan processes, rather than to palliative vision of liberal tolerance that promises - often wishfully - to resolve them. The fiction of bodi Christos Tsiolkas and Roberto Bolano strikes me as working in this vein. The two novels I want to touch on briefly here - Dead Europe and 2666 - contain moments of critical intensity that hinge on eruption of inhuman, not as a limit to cosmopolitan freedom, but as a consequence of it.Of course, there is an obvious sense in which two novels are mismatched, despite their shared orientation. Bolano's 2666 has been hailed as a major literary event and anchors a body of work that, in a matter of a decade, has entered into canon of world literature. …" @default.
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• W242674588 date "2010-12-01" @default.
• W242674588 modified "2023-09-28" @default.
• W242674588 title "Discrepant Cosmopolitanism and the Contemporary Novel:Reading the Inhuman in Christos Tsiolkas’s 'Dead Europe' andRoberto Bolaño’s '2666'" @default.
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