This article considers how a contemporary wave of Caribbean short story writers re-work the language of folkloric irrealism as a tool of critique against the structural inequalities ingrained in the ...patriarchal capitalist world-system. Building on the Warwick Research Collective’s (2015: 72) examination of how irrealist aesthetics correspond to the “violent reorganization of social relations engendered by cyclical crisis,” it considers how transplanted folk figures attend to the distinctly gendered geographies of unevenness produced by the expansion of capitalist modernization. This article first unpacks the significance of the short story as a distinct vector for folkloric re-inscription, tracing the form’s dialogic interconnection with folk orality and its unique responsiveness to registering the processes of uneven development in Caribbean societies. Secondly, it offers close readings of selected short stories from collections including Nalo Hopkinson’s Skin Folk (2018), Breanne Mc Ivor’s Where There Are Monsters (2019) and Leone Ross’s Come Let Us Sing Anyway (2017). Tracking a resistant aesthetic of folkloric corporeality, it considers how these writers re-animate oral poetics to critique the interrelated problems of global racial capitalism and what Silvia Federici describes as capitalism’s new war waged against women’s bodies in the current phase of accumulation (Federici 2018).
This paper introduces this Special Issue of the Journal of World-Systems Research, “Women in World-Literature: A Woman’s Work” by making the case that the Warwick Research Collective’s (WReC 2015: 9) ...conception of “combined and uneven development” can not only be applied to women’s writing in conversation with materialist feminist theory, but perhaps misses the ways in which women, Black feminists, indigenous lifeways, and queer world-making shows us a form of work that is not bound by the wage or value-exchange system, as many acts of care or favors often described as “women’s work”—cannot be repaid (Walton and Luker 2019). Missing from the WReC’s framework is an explicit engagement with women’s writing and how women contribute to, and are exploited by, the world-system. This Special Issue thus focuses on only one aspect of women’s engagement with the world-literary system: women’s work. From the labor market, motherhood, sex work, affective work, to knowledge production and storytelling, to the very work of consumption itself. Social reproduction theory and materialist feminists have made the case that capitalism relies on the invisible labor of women, particularly domestic work and community work. Yet, if we consider the creative dimensions of women’s work, do we discover gaps in world-systems frameworks which, when refracted through literary analysis, actually upset capitalism’s insistence upon the inevitability of exchange value? To exemplify this, I turn to Silvia Federici’s explanations of the witch as a tool to think about how we might “make something out of nothing.”
Coined by Karl Marx in Capital (1867), the “metabolic rift” or “ecological rift” model describes the cycle of extraction, exportation and exhaustion present in agricultural production and, in ...particular, highlights the unsustainability of this ecologically-unequal exchange. This article integrates world-literary theory, Social Reproduction Theory, and the model of the metabolic rift to explore how Clarice Lispector’s Hour of the Star (1977) illuminates the peripheralization of women within the capitalist mode of production. The increasing pressure on women to be producers causes contradictions in the protagonist’s materiality and exposes the pressures placed on writing—especially women's writing—to meet the expectations of literary production. The novel’s commodity consumption, crisis of social reproduction, and meta-narrational features become windows to view the women’s work and women’s narratives which simultaneously sustain and are exploited by the capitalist mode of production. By connecting these various threads, I suggest the ignored labor of social reproduction under capitalism signals a crisis of consumption and a loss of capitalistic futurity, alerting readers to the unsustainable nature of the current capitalist mode of production.
EDITOR'S NOTE Simon, Daniel
World literature today,
11/2023, Letnik:
97, Številka:
6
Journal Article
Recenzirano
J. G. Cobo Borda, "Pazs Workshop," WLT (1982) IN HIS RECENT BOOK Little Magazine, World Form (2016), Eric Bulson makes a compelling case for little magazines' role in the "globalization of ...modernism," beyond the glittering metropolises of the US and western Europe, not only in the 1920s but well into the late twentieth and early twenty-first centuries as a "digittie" form. From 1927 to 1948, House drew inspiration and enlightenment from his fellow editors to bring the work of foreign writers to Books Abroad's pages and to the attention of its anglophone readership. ...many fine translation-focused lit mags, like Two Lines, Circumference, Words Without Borders, and Asymptote, share WLT's commitment to enlarging the scope of world literature beyond the predominance- some would say the hegemony-of English.
Love, and the different manifestations of it, is a common theme in literature around the world. In Cosmopolitan Love , Sijia Yao examines the writings of D. H. Lawrence, a British writer whose ...literature focused primarily on interpersonal relationships in domestic settings, and Eileen Chang, a Chinese writer who migrated to the United States and explored Chinese heterosexual love in her writing. While comparing the writings of a Chinese writer and an English one, Yao avoids a direct comparison between East and West that could further enforce binaries. Instead, she uses the comparison to develop an idea of cosmopolitanism that shows how the writers are in conversation with their own culture and with each other. Both D. H. Lawrence and Eileen Chang wrote stories that are influenced by—but sometimes stand in opposition to—their own cultures. They offer alternative understandings of societies dealing with modernism and cultural globalization. Their stories deal with emotional pain caused by the restrictions of local politics and economics and address common themes of incestuous love, sexual love, adulterous love, and utopian love. By analyzing their writing, Yao demonstrates that the concept of love as a social and political force can cross cultural boundaries and traditions to become a basis for human meaning, the key to a cosmopolitan vision.
Set in the early years of the Old Republic after the abolition of slavery, Júlia Lopes de Almeida's The Bankruptcy depicts the rise and fall of a wealthy coffee exporter against a kaleidoscopic ...background of glamour, poverty, seduction, and financial speculation. The novel introduces readers to a turbulent period in Brazilian history seething with new ideas about democracy, women’s emancipation, and the role of religion in society. Originally published in 1901, its prescient critiques of financial capitalism and the patriarchal family remain relevant today. In her lifetime, Júlia Lopes de Almeida was compared to Machado de Assis, the most important Brazilian writer of the nineteenth century. She was also considered for the inaugural list of members of the Brazilian Academy of Letters, but was excluded because of her gender. In the decades after her death, her work was largely forgotten. This publication, a winner of the English PEN award, marks the first novel-length translation of Almeida’s writing into English, including an Introduction to the novel and a Translators' preface, and accompanies a general rediscovery of her extraordinary body of work in Brazil.
PDF
