Situated within contemporary studies of Cormac McCarthy’s work, this article argues that existing discourse around Cormac McCarthy’s novel Blood Meridian suffers from a lack of critical engagement with the novel’s racial and colonial politics. Using racial capitalism as a framework, the article posits that McCarthy’s novel can be read not only as a story about American storytelling traditions, but how these traditions are themselves contingent on the reproduction and reification of white supremacy. This rereading of Blood Meridian additionally takes into account how the novel’s narrativization of white supremacy and settler colonialism manifests in both the novel’s form and content, arguing that the novel stages encounters with blackness and Indigeneity to mimic the mechanisms through which white supremacy was (violently) produced.

The terms creolization and hybridity are neither parallel nor interchangeable. The former cannot be fully understood without taking into account its historical background and geographical context so that creolization is a phenomenon of exchange and transformation that is indispensable to understanding the New World experience. Hybridity, on the other hand, claims to provide a framework for avoiding the binaries of colonialist thinking, enabling agency particularly in postcolonial contexts involving subaltern subjects. Such a reading posits contact and chaos, cultural relativity, exchange and transformation as key tools in a polyvalent system of thought. The resulting nonbinary, archipelagic framework leads to the concept of archipelic rather than continental thought, transcending the universalist presumptions of the either/or and revising and rewriting traditional notions of boundary and location.

This article attempts a reassessment of the political aspirations within Agha Shahid Ali’s poetics through a close reading of The Country without a Post Office. Although Shahid’s formal innovations have often been prioritized over his political commitments within scholarly evaluations of his work, I contend that in this collection, Agha Shahid Ali practices a “poetics of rupture”: holding themes of coherence and disruption, continuity and breakage, the global and the local in sustained tension with each other throughout the volume. Forged through a political commitment to represent Kashmir in crisis, his poetics of rupture is simultaneously formally founded on breakage and discontinuity, and itself ruptures, as I eventually propose, the very binaries (poetics versus polemics, personal versus political, local versus global) that shadow political poetry. I demonstrate the specifics of Shahid’s poetics of rupture through an analysis of his work with literary allusions and poetic forms. Eventually, this article contends that recognizing the political import of his poetics of rupture has consequences for our recognition of the crisis in Kashmir itself and the ethical and formal possibilities surrounding the representation of this crisis.

Recent years have seen a resurgence of scholarly interest across disciplines around the concept “creolization” even as there has been some pushback against this development in other academic quarters. This article contextualizes this state of art around “creolization” and presents an analytical overview of the term’s discursive history. First, I discuss the appearance of the term creole in several areas of the world as an epiphenomenon of the first wave of European expansionism from the fifteenty century onward. Second, I track the emergence of “Creole” as an analytical category within nineteenth-century philology and its further development within linguistics. Third, I focus on milestones in the move of “creole” to “creolization” as a category for theorists of culture. Finally, I discuss recuperations of creolization as a theoretical model, including my own work that articulates it together with theoretical approaches to archipelagos.

The idea that (semi-)peripheral societies might follow developmental pathways distinct from those prescribed by globalization has been explored at length in the last twenty years by scholars such as G. G. Alcock, Rem Koolhaus, Jane Guyer, AbdouMaliq Simone, Achille Mbembe, and Sarah Nuttall. For scholars who have celebrated these kinds of sociality, the informal economy—as Keith Hart has called it—represents Gordimer’s “space that lies between camps”: an alternative social velocity to both the corrupt or “can’t do” state and global capitalist modernization. But more and more South African writers are using their work to interrogate the idea that living in the interstices of institutions such as the state, traditional community, and capital is in fact liberatory or counter-hegemonic. In this article I argue that Masande Ntshanga’s 2014 novel The Reactive is the paradigm of the “disaffection” of present fiction—as Ivan Vladislavić describes it—with contemporary South Africa.

During the so-called “era decolonization” in Africa, few historical events held more salience than what is most commonly known as the Mau Mau Uprising in Kenya (which covered the period from 1952 to 1960). This article examines not only how tropes about the nature and origins of Mau Mau were and are deployed across different semiotic landscapes, but also the ways in which their operations are made manifest through practices of reading. I argue that we should consider the idea of Mau Mau—whether it be central to a text or present a mere detail—as a catalyst through which broader claims are made, especially as they relate to the nature of history and the semiotic dimensions of the events that populate it. This article shows this through conducting a “tropology” of Mau Mau, in which the suffix -ology underscores reading its tropes as a particular mode of studying it.

In this article I show how ubiquitous hybridity is in cultures. It is enabled by layers of population movements and contacts since the dispersal of Homo sapiens out of Africa around 50,000 years ago. I demonstrate how hybridization has proceeded in the emergence of creole language varieties and show that the same process has also driven, for instance, the emergence and differential evolution of English and the speciation of Vulgar Latin into the Romance languages. Differences in outcomes are determined by the specificities of the contact ecologies, including population structure, differences in the demographic proportions of the populations in contact and power relations between them, as well as patterns of population growth, among other factors. I argue that hybridity is not unique to languages. It is conspicuous in other domains of culture, including cuisine, music, clothing fashions, and technologies, for example. I submit a uniformitarian approach inspired by evolutionary biology to better understand how hybridization occurs.

Breastfeeding, both in its literal consequences on a woman’s body and its symbolic associations with attachment, highlights the simultaneously powerful yet servile position of the maternal figure. I trace this ambivalence in Mahasweta Devi’s story “Breast-Giver,” exploring women’s literal and metaphorical hungers, as well as the hunger their children experience, arguing that breastfeeding often serves as a means of showcasing a woman’s physical limitation based on her familial status as “feeder.” However, I also argue for a profoundly embodied version of the breastfeeding trope, one that negates prior conceptions of breastfeeding as a “taking” and establishes it as a “giving” that not only nourishes one’s family, but also one’s self, as mothers circumvent hierarchical systems of cooking and food preparation. Ultimately, I both lay bare the interconnection between a woman’s body and food-based labor systems and reveal literary methods for their extrication, through narrative instances of breastfeeding.

This article interrogates the South-South internationalism of two renowned US Latinx poets: Miguel Algarín’s abjection in Morocco in his poem “Tangiers” and Sandra María Esteves’s anti-apartheid poetry for the French Art contre/against apartheid project, which included the controversial participation of Jacques Derrida. Although these poems focus on different contexts of African liberation, both react to French coloniality. For Algarín, his Orientalist evocations of underage child prostitution operate under a French hegemony, coming into crisis when a third world alliance fails. In Esteves’s work, her poetic solidarity draws on Frantz Fanon’s experience of French colonization in Algeria but also comes into crisis when Derrida’s foreword for Art contre/against apartheid is challenged as Eurocentric. Although both engagements with African self-determination exhibit residues of a French hegemony undergirding and undercutting what I term is a poetic Latin-African solidarity, their South-South approach enriches postcolonial studies, in which Latin American, and by extension, Latinx identities have been sidelined.

In 1914, an epidemic of bubonic plague ravaged colonial Dakar. The panicked French colonial administration blamed the native population and evicted indigenous Africans from the city center before burning their homes. The Dakarois fought back through a general strike, political maneuvering, and, finally, by taking to the streets. Out of this year of disease, politics, racism, and resistance came the new, segregated neighborhood of Médina, which was created to house the displaced African population of Dakar. Over the twentieth century, as Dakar swelled into a metropolis around it, Médina was a unique space in the Senegalese capital—a hotbed of cultural creativity, a crossroads for waves of migrants, and a potent and enduring contrast with the nearby downtown, known as the Plateau. This article explores the ways in which the plague of 1914 reshaped Dakar and left a lasting impression on a century of Senegalese cultural production.

This article is an attempt to make sense of the paradox structuring the narrative of extinction in Alfonso Cuarón’s Children of Men (2006), which juxtaposes a romanticized image of survival and rebirth and the ugliness of senseless death. Departing from a biopolitical framework, the article argues that Cuarón’s story represents extinction as beyond redemption yet as subject to regulation. Given the fact that the narrative is structured around the citizen/refugee nexus, I read the film as a story about the eschatological value of refugees to both cultural conceptualizations of human extinction and a reproduction of statist political identities. The film is thus not only about unequal access to death but also about how the difference between the citizen and the refugee can still be maintained in the face of climatic extinction when the regulation of life is no longer sufficient.

Teju Cole’s Open City is often read as the quintessential Western cosmopolitan novel. But despite the protagonist’s fixation with European aestheticism, the presence of African antecedents looms almost as an unacknowledged shadow in the acclaimed cosmopolitan novel. This article traces how Yorùbá visual registers about perception, subjectivity, and representation provide interpretative cues for understanding the meta-text of Cole’s novel in ways that illuminate the conflicted, contradictory itineraries of the postcolonial African transnational figure. I argue that Yorùbá conceptual registers relating to visuality, especially the concept of Àwòrán and its insistence on intersubjective relations and the visual call of images, highlight a visual hermeneutics that inflect the construction of personhood in Open City. By tracing the centrality of Yorùbá optic codes to Cole’s project, the article concludes that the novel’s philosophically dense conversation with aspects of Yorùbá culture demonstrates how conceptual registers from African cultures might contour Afro-diasporic texts.