Sam Okoth Opondo
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Michael J. Shapiro
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Aesthetic separation/separation aesthetics
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This chapter turns to consensual and dissensual modes of separation to illustrate how the COVID-19 pandemic has turned the present into a time of intense separation, one of which is between those bodies marked as essential versus non-essential, those that have ‘pre-existing conditions’ and those without, and those located in precarious zones of abandonment, congestion, and containment, and those that, owing to prevailing economic distancing and apartness, can practice a life of social distancing. These precarious lives are rendered in intimate portraits and scenarios in Edna O’Brien’s novel The Little Red Chairs (a media genre that sees the world more patiently and in a more socially contextualized way than most news media) and Stephen Frears’s film Dirty Pretty Things (2002). With these aesthetic readings of precarious migrant lives in London, we look at moments of solidarity among exploitable “night people” who work illegally in the hospitality industry. Ultimately, our reflections on aesthetic separation/separation aesthetics in the wake of the pandemic help map the dynamics of visibility/invisibility, community/immunity, hospitality/hostility that the contemporary politics of the pandemic amplifies.

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On geo-analysis and the aesthetics of precarity

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