In light of the problem of the postmodern “de-centered” subject for Christianity, I address the loss of a common expectation horizon of the eschatological future. This loss is situated within the wider collapse of modern metanarratives and the dispersal of the primacy and critical power of the future, leading to an incomplete and even shattered process of identity formation for Christians. By recovering elements of Edward Schillebeeckx's eschatology, I suggest a way forward by drawing on the wider Christian tradition and hope for salvation as an essential element for the ongoing process of identity formation, while using his thought to critique the fractured postmodern “self” and contemporary trends in culture, religion, and economics.

This article reflects upon the continuing historical denialism concerning the Korean “comfort women” forced into sexual slavery by the Japanese military during World War II. We argue that the refusal of the Japanese government and others to squarely confront this wrong is made possible through the exploitation of a différend in Jean-François Lyotard’s sense of the term. The différend arises from a complex set of social, cultural, and legal sources, including patriarchal, colonial, and nationalistic constructions of the wrong and its victims. We seek to tentatively expose the nature of the différend by identifying these factors. We then sketch the beginnings of a possible response, drawing on Luce Irigaray’s strategy of emphasizing sexual difference and separation to pave the way for reciprocality between the sexes. The testimonies of the “comfort women” must be allowed to speak for themselves before a response can emerge based in other discourses.

Set in the vast Sundarban mangrove forest of Bangladesh in the shadow of the colonial past and the 1979 Morichjhapi massacre, The Hungry Tide traces the transformation of three metropolitan characters from disengaged spectators to invested insiders. The novel may be read as elaborating the theories of Jean-François Lyotard, whose revision of the sublime as the “differend” in both aesthetics and politics provides a compelling context for exploring the postcolonial sublime. Suggesting ecocentric ways of engaging the world that loosen the bonds of the colonial past and critiquing the failure of the postcolonial state and the new cosmopolitanism, Ghosh rewrites aesthetics as interconnected with ethics and politics. In his novel, the postcolonial sublime no longer reifies metaphysical or anthropocentric pure reason, but instead enables discovery of our interpenetration with the natural world, spurring us to witnessing and activism in partnership with those who have been rendered silent and invisible.