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Political and aesthetic disruption in Against the Day
Simon Malpas
Andrew Taylor

. Within the novel, anarchist activity is rife, as several characters attempt to resist the inexorable march of capitalism, and anarchist violence is felt across the world. The phenomenon is first encountered in the bizarre context of Pugnax, a dog aboard the ‘Chums of Chance’ airship, reading The Princess Cassamassima, an 1886 novel by Henry James that pivots on the conflicting impulses of political revolution and aestheticism. As Noseworth, one of the Chums, remarks, James’s subject ‘is the inexorably rising tide of World Anarchism, to be found ‘I believe in incursion

in Thomas Pynchon
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Musical timekeeping and the security.state
Steve Potter

/or when exactly to play. Piekut argues in ‘When Orchestras Attack’, the first chapter of his 2011 book, Experimentalism Otherwise , that Cage’s practice, while perhaps suggestive of utopian anarchism, actually embodied a ‘rather orthodox liberalism’, 4 in which musician subjects are given the illusion of choice while the restrictions on the frame

in Foucault’s theatres
Claire Sheridan

’ in Godwin’s Caleb Williams in its construction ‘around competing discourses whose demarcations remain visible’, 10 a description that can be transferred to the serial, literally ‘visible’ medium of Watchmen . Moore’s narrative ethic, and his commitment to anarchism, also suggests connections to the Godwinian tradition. Here he is discussing V for Vendetta

in Alan Moore and the Gothic Tradition
Margaret Harkness, George Eastmont, Wanderer (1905), and the 1889 Dockworkers’ Strike
David Glover

his strength’ (Law, 1891a); Tom Mann was restless, enthusiastic, and a born organiser, yet completely unforgiving once crossed (Law, 1891c); while the adventurous Cunninghame Graham had an artistic bent that inclined him towards anarchism rather than socialism or Marxism (Law, 1891d). However, it was the sketch of the strike’s publicist and chief negotiator, Henry Hyde Champion, that cut closest to the bone. Secretive, independent-minded, and sometimes regarded with suspicion by his allies and followers, Champion is depicted as inexorably bound to his own class

in Margaret Harkness
Ruth Livesey

London through this play on an idea of estranged vision. However, The Princess Casamassima, serialised in the Atlantic Monthly in 1885–86, is his only attempt to depict the world of urban poverty and political activism and to consider the estrangement of vision in London as a matter of socio-­economic division, rather than as an effect of foreignness for the American abroad. The Princess Casamassima is a story of anarchism in London. The novel follows the fortunes of a refined young bookbinder, Hyacinth Robinson, who presumes himself the illegitimate son of an

in Margaret Harkness
Jean-Michel Rabaté

tendencies, which is why he senses a wry solidarity with Nordau, whose Zionism followed from the general denunciation of modernist degeneration. Huneker combined an appreciation of the French literary avant-garde that comprised accurate and original readings of Stendhal, Baudelaire and Flaubert, with a German genealogy of philosophical anarchism that went from Max Stirner, the radical Left-Hegelian, to Nietzsche, Huneker’s favourite philosopher. He reconstituted a systematic doctrine of egoism: ‘Nietzsche is the poet of the doctrine, Stirner is its prophet, or, if you

in 1913: The year of French modernism
Simon Kővesi

–20. 11 See for example Pierre-Joseph Proudhon, What is Property? trans. Donald Kelley and Bonnie Smith (Cambridge: Cambridge University Press, 1994) and Rudolf Rocker, ‘The Nation as Community of Language’, in Nationalism and Culture [1933], trans. Ray E. Chase (Montreal, New York and London: Black Rose Books, 1998), 276–97. For accounts of both, see George Woodcock, Anarchism: A History of Libertarian Ideas and Movements, 2nd edn (Ontario: Broadview, 2004). For an analysis of Kelman’s anarchism, see H. Gustav Klaus, ‘Anti-authoritarianism in the Later Fiction of

in James Kelman
Rikki Ducornet’s surrealist ecology
Kristoffer Noheden

Principles of the Elements’, in Jeffrey Jerome Cohen and Lowell Duckert (eds), Elemental Ecocriticism: Thinking with Earth, Air, Water, and Fire (Minneapolis: University of Minnesota Press, 2015), p. 4. 5 See Michael Löwy, Morning Star: Surrealism, Marxism, Anarchism, Situationism, Utopia (Austin: University of Texas Press, 2009), p. 9. 6

in Surrealist women’s writing
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Margaret Harkness on conjectural history and utilitarian philosophy
Lisa C. Robertson

. 8 In Glimpses of Hidden India and Modern Hyderabad, Harkness discusses the emergence of anarchism and violent protest. The opening chapter of Modern Hyderabad affords particular attention to Lord Hardinge’s visit to Hyderabad, which was disrupted by local protest and widespread anarchist activity. References Works by Margaret Harkness cited (listed chronologically) Law, J. [Margaret Harkness] (1889). Captain Lobe: A Story of the Salvation Army. London: Hodder & Stoughton. –––– (1905). ‘Ceylon as a Holiday Resort’. West Australian, 9 June–8 August [nine parts

in Margaret Harkness
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Inherent Vice as Pynchon Lite?
Simon Malpas
Andrew Taylor

small victory Anarchism has struggled to win’ seems about to ‘turn to dust’ (ATD 938). In this manner, as we argued in the last chapter, Pynchon evokes utopian alternatives, but carefully hedges them around with assertions of the potential inevitability of their extinction in the face of modernity’s growing systems of power, control and exploitation, the ‘vortex of corroded history’ that, Doc muses, promises a future that ‘seemed dark whichever way he turned’ (IV 110). This conflict between projected emancipatory potential and the destruction of resistance and

in Thomas Pynchon