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  • CREATIVE

    Go On Too Long

    Young, D.

    Radio Astronomy

    Matejka, A.

    First Grade

    Damiani, J.

    Salvage

    Wrigley, R.

    Good Bones

    Wrigley, R.

    Step Right Up

    Bandura, V.

    Unicorn Stew

    Felver, B.

    Ecclesiastes: Katamon, Jerusalem

    Sulak, M.

    The History of the Lost Voices

    Cook, R.

    Fugue in Rob # Minor

    Stephens, R.

    Ode to Home

    Hahn, K.

    The Solitary Adelie

    Hahn, K.

    Serai

    Hightower, S.

    Hunting Poy Sippi Swamp

    McSorley, A.

    The Widening Gyre

    Chesser, P. R.

    In the Drink: for Hart Crane

    McLaughlin, C.

    Ingredients for the Unmaking

    McLaughlin, C.

    Eight Months in Buenos Aires as Still Life with Skull: poem opens with a line from Erin Belieu's "At Last"

    Shea, M. M.

    the minnesota review loves . . .

    The Fort

    Fleury, A.

    What Children Know

    Baugher, J. J.

    Ebb & Flow

    Britt, A.

    The Devil's Fingers

    Green, B.

    Taxonomia: A Photo Essay

    Whiteman, M.

    The Theory That Lives On -- A Counterintuitive History: An Interview with Timothy Brennan

    Tedesco, F.

    In the interview that follows, Timothy Brennan argues that intellectual history is a dimension missing from most cultural theory. He suggests that this weakens theory, since intellectual history is not simply the frame for arguments but part of the substance of statements. He sees himself as giving voice to a sizable, if often silent, community of critics who find themselves doing critical/philosophical work but whose account of the past clashes with the official story of the emergence of "theory." Unlike the Norton Anthology, which considers post-structuralist concepts like the "discursive regime," the "body-without-organs," or the "Real" to be the work of mostly French intellectuals of the Left, Brennan suggests that many of these ideas are variants of concepts from the interwar German philosophical Right. Testing the thesis that the history of these concepts casts them in a more doubtful light, Brennan looks at various theoretical moments of the immediate past: for example, the "subaltern," the "multitude," and the post-human. He observes along the way that the humanities themselves, paradoxically, have become the institution devoted to showing the absurdity of human beings. And, more to the point, he suggests the historical reasons for this self-defeating gesture. With his interlocutor, Francescomaria Tedesco, he tries to explain why there is so little intellectual debate over these issues — and why debate itself has been targeted. How, he asks, has radical political desire become postpolitical, and what is theory doing to agency by embracing ambiguity as a principle, or holding up indecisionism as a critical act?

    Imagining a Space That Is Outside: An Interview with Fredric Jameson

    Cevasco, M. E.

    Fredric Jameson, in dialogue with his Brazilian translator Maria Elisa Cevasco, begins this interview by discussing his earliest influences: Jean-Paul Sartre, G. W. F. Hegel, Karl Marx, structuralism, dialectics, and psychoanalysis. Prompted by Cevasco, Jameson revisits his most famous categorical inventions: the political unconscious, transcoding, and cognitive mapping. Discussing the global situation today, he suggests that because of its location on the outside, a Third Worl

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