speculating Latina radicalism: labour and motherhood in <Emphasis Type="Italic">Lunar Braceros 2125</Emphasis>-<Emphasis Type="Italic">2148</Emphasis>

This essay unpacks the utopian impulse in Rosaura Sánchez and Beatrice Pita’s novella Lunar Braceros 2125-2148 (2009). As speculative fiction that has strong, explicit critiques on labour and globalisation, Lunar Braceros crafts a future-historical and future-present world where racialised forms of labour exploitation are the norm. The novella offers the radical response of worker revolution that can only ever be a potential and desire. The novella does this by presenting an ambivalent labour politics that results in the dismantling of the family as a heteronormative unit and that depend on the figure of the lost radical mother. The intervention this essay makes into Latina/o studies and feminist studies is to rearticulate the figure of motherhood through a specific lens of radicalism that is both queer and proletarian. By thinking about Latina radicalism through the intersections of labour, gender and non-normative sexuality in the novella, we see that the lost mother figure disrupts capitalist patriarchy by offering radical potentiality.     

What a Difference a Decade Makes: <Emphasis Type="Italic">Coming to Power</Emphasis> and <Emphasis Type="Italic">The Second Coming</Emphasis>

A critical look at two books, Coming to Power – Writings and Graphics on Lesbian S/M, published in 1981, and its ‘long awaited sequel’, The Second Coming – A Leatherdyke Reader, published in 1996, yields many differences and similarities. Both books have been judged negatively or positively on the basis of their sadomasochistic content and in line with knee-jerk positions around the lesbian ‘sex wars’ of the 1980s. The feminist politics represented in each book and the connections to more general lesbian feminist concerns and developments of either the late 1970s (Coming to Power) or the late 1980s and early 1990s (The Second Coming) are often overlooked or dismissed. Comparing the kind of sex acts and personas fetishized in each book as well as the claims made for lesbian sm by its adherents often reveals more than the writers may have intended. A more nuanced reading of both books also reveals connections between lesbian feminism, particularly lesbian radical feminism and the sm dykes. Rather than being the ‘illegitimate children’ of lesbian feminism, as Coming to Power maintained in 1981, it is clear now that sm dykes and lesbian feminists are strange sisters who needed each other to define their particular politicized identities.     

Weblogistan goes to war: representational practices,gendered soldiers and neoliberal entrepreneurship in diaspora

In this article, which is based on twenty four months of combined online and off-line ethnographic research, I show the way that some Iranian diasporic bloggers use their weblogs as entrepreneurship resources during the ‘war on terror’. Through a discourse analysis of a documentary film about Weblogistan and interviews with diasporic Iranian bloggers in Toronto, I argue that Weblogistan is implicated in discourses of militarism and neoliberalism that interpellate the representable Iranian blogger as a gendered neoliberal homo oeconomicus. The production of knowledge about Iran in transnational encounters between the media, think tanks, policy institutions and the Iranian diasporic self-entrepreneurs, relies on gendered civilizational discourses that are inherently tied to the ‘war on terror’. Following feminist scholars who have theorized militarism and gender, I argue that dominant representations of Weblogistan produce different gendered subject positions for Iranian bloggers. Although the masculine blogger soldier takes freedom to Iran through his active participation in proper politics (enabled by his freedom of speech in North America and Europe), the woman blogger finds freedom of expression in writing about sex and telling the truth of her sex in a confessional mode. It is in this war of representation that women bloggers negotiate their subjectivity while shuttling in and out of local and global politics, as subjects of politics (markers of freedom and oppression) and political abjects (not worthy of political participation).     

drones,swarms and becoming-insect: feminist utopias and posthuman politics

Insects and ‘the swarm’ as metaphors and objects of research have inspired works in the genres of science fiction and horror; social and political theorists; and the development of war-fighting technologies such as ‘drone swarms’, which function as robot/insect hybrids. Contemporary developments suggest that the future of warfare will not be ‘robots’ as technological, individualised substitutions for idealised (masculine) warfighters, but warfighters understood as swarms: insect metaphors for non-centrally organised problem-solvers that will become technologies of racialisation. As such, contemporary feminist analysis requires an analysis of the politics of life and death in the insect and the swarm, which, following Braidotti (2002), cannot be assumed to be a mere metaphor or representation of political life, but an animating materialist logic. The swarm is not only a metaphor but also a central mode of biopolitical and necropolitical war, with the ‘terrorist’ enemy represented as swarm-like as well. In analysing the relations of assemblage and antagonism in the war ontologies of the drone swarm, I seek inspiration from what Hayles (1999, p. 47) describes as a double vision that ‘looks simultaneously at the power of simulation and at the materialities that produce it’. I discuss various representations and manifestations of swarms and insect life in science/speculative fiction, from various presentations of the ‘Borg’ in Star Trek (1987–1994, 1995–2001, 1996), Alien (1979) and The Fly (1958, 1986) to more positive representations of the ‘becoming-insect’ as possible feminist utopia in Gilman’s Herland (2015 [1915]) and Tiptree’s Houston, Houston, Do You Read? (1989 [1976]). Posthuman warfare also contains the possibilities of both appropriating and rewriting antagonisms of masculine and feminine in the embodiment of the subject of war in the swarm. This piece seeks to analyse new ways of feminist theorising of the relations of power and violence in the embodiment of war as the swarm.     

‘Settled in mobility’: engendering post-wall migration in Europe

The end of the bi-polar world and the collapse of communist regimes triggered an unprecedented mobility of people and heralded a new phase in European migrations. Eastern Europeans were now not only ‘free to leave’ to the West but more exactly ‘free to leave and to come back’. In this text I will focus on gendered transnational, cross-border practices and capabilities of Central and Eastern Europeans on the move, who use their spatial mobility to adapt to the new context of post-communist transition. We are dealing here with practices that are very different from those which the literature on ‘immigrant transnationalism’ is mostly about. Rather than relying on transnational networking for improving their condition in the country of their settlement, they tend to ‘settle within mobility,’ staying mobile ‘as long as they can’ in order to improve or maintain the quality of life at home. Their experience of migration thus becomes their lifestyle, their leaving home and going away, paradoxically, a strategy of staying at home, and, thus, an alternative to what migration is usually considered to be – emigration/immigration. Access to and management of mobility is gendered and dependent on institutional context. Mobility as a strategy can be empowering, a resource, a tool for social innovation and agency and an important dimension of social capital – if under the migrants' own control. However, mobility may reflect increased dependencies, proliferation of precarious jobs and, as in the case of trafficking in women, lack of mobility and freedom.     

red girls’ revolutionary tales: antifascist women’s autobiographies in Italy

This essay focuses on recent autobiographies written by Italian women born in the 1920s who engaged in revolutionary politics during and after the Second World War: Luciana Castellina (La scoperta del mondo, 2011), Bianca Guidetti Serra (Bianca la rossa, 2009), Marisa Ombra (La bella politica, 2010), Marisa Rodano (Del mutare dei tempi, 2008) and Rossana Rossanda (La ragazza del secolo scorso, 2005). In these autobiographies, personal narratives of passionate engagement are entangled with the urgency of antifascist resistance, and with the social and political conflicts that traversed Cold War Italy. Women’s multiple forms of political engagement within the Italian Communist Party are analysed, as well as the contradictory, ambivalent connection between Western European communist activists and Eastern European socialist regimes. The intersections between antifascist, communist and women’s rights politics are also explored, since some of the authors were leaders of the nation-wide left-wing Union of Italian Women. The autobiographies tell the story of an antifascist, left-wing ‘middle wave’ that fought pioneering battles for women’s political and social rights, and narrate its complex, conflictual encounter with second-wave feminism in the 1970s. These writings, therefore, allow us to reflect on changes in gendered subjectivities and revolutionary politics across time and generations.     

why queer diaspora?

‘Why Queer Diaspora?’ intervenes at the intersection of queer theory and diaspora studies to ask how the conditions of geographical mobility produce new experiences and understandings of sexuality and gender identity. More particularly, this essay argues against a prevalent critical slippage between queer and diaspora, through which the queer is read as a mobile category that, like diaspora, disrupts the stability of fixed identity categories and thus represents a liberatory position within the material and geographical displacements of globalization. Instead, I posit that the work of ‘queering’ diaspora must be to examine the new articulations of normative and queer as they emerge in the transformations of the late twentieth century. To this end, the essay looks to two contemporary documentaries, Remote Sensing (Ursula Biemann, 2001) and Mariposas en el Andamio/Butterflies on the Scaffold (Margaret Gilpin and Luis Felipe Bernaza, 1996), as models of alternative articulations of the queer and the diasporic. Ultimately, I argue, it is a focus on the labour through which the seemingly natural categories of gender and sexuality are produced, that a queer diasporic criticism might offer.     

paradise,built in hell: decolonising feminist utopias in <Emphasis Type="Italic">Top of the Lake</Emphasis> (2013)

Jane Campion and Gerard Lee’s miniseries Top of the Lake (2013) marked New Zealand-born but Australian resident Campion’s return to New Zealand for the first time since The Piano (1993). The show’s central subject of child sexual abuse by state officials echoes the different yet resonating political situations in twenty-first century Australia and New Zealand, a state of emergency that allows for the emergence of what Rebecca Solnit (2009) calls a ‘disaster community’. Implicitly addressing critiques of her colonialist gaze in the earlier film, the miniseries both decolonises the idea of the utopian no-place and offers an alternate, emplaced vision of relational, anti-colonial provisional utopia through the main, mirroring female characters, Detective Robin Griffin and her half-sister Tui Mitcham. In contrast to contemporaneous police procedurals focussed on lone female officers, Top of the Lake rejects the authority of the police state and offers a resolution aslant that critiques generic expectations of individual heroism and resolution within a legal framework. Looking specifically at how the show knows its place—Lake Wakatipu on South Island, New Zealand—the article offers a close reading of Top of the Lake’s formal critique of the male colonial gaze and its adoption of a feminist soundscape in relation to Campion’s oeuvre; and considers its politics through indigenous media theory, to argue that it marks an initial step towards a decolonisation of viewing practices in relation to feminist conceptions of utopia.     

Why Unfree Labour is Not ‘So-Called’: The Fictions of Jairus Banaji

In a recent critique of the deproletarianization thesis, which links the reproduction of unfree labour mainly - but not only - in Third World agriculture to class struggle prosecuted by capitalist producers, Banaji maintains in effect that there is no such thing as unfree labour. Equating the latter with nineteenth-century liberal ideas about freedom as consent, he conceptualizes all historical working arrangements simply as ‘disguised’ wage-labour that is free, a theoretically problematic claim first made during the Indian mode of production debate. Such a view, it is argued here, ignores the fact that unfree workers get paid and also appear in the labour market, but not as sellers of their own commodity. Moreover, by abolishing the free/unfree labour distinction, and adopting instead the view that all rural workers are simply ‘disguised’ hired labourers who are contractually ‘free’, Banaji aligns himself with anti-Marxist theory in general, and neoclassical economic historiography in particular.     

interview with Sarah Waters (CWWN conference,University of Wales,Bangor, 22nd April 2006)

Sarah Waters was born in Pembrokeshire in South Wales in 1966. She is the author of four novels, Tipping the Velvet (1998), Affinity (1999), Fingersmith (2003) and The Night Watch (2006). Among her many awards and nominations one can include the Sunday Times Young Writer of the Year (2000), Author of the Year at the British Book Awards (2003), and the South Bank Award for Literature (2003). Most recently, The Night Watch has been short-listed for the Orange Prize. It was my great pleasure to have the opportunity to interview her at the inaugural conference of the Contemporary Women's Writing Network (CWWN), ‘For Love or Money? Contemporary Women's Writing in the Marketplace’, which was held at the University of Wales, Bangor, in April 2006.     

sex,work, meat: the feminist politics of veganism

Since the publication of The Sexual Politics of Meat in 1990, activist and writer Carol J. Adams (2000 [1990]) has put forth a feminist defence of veganism based on the argument that meat consumption and violence against animals are structurally related to violence against women, and especially to pornography and prostitution. Adams’ work has been influential in the growing fields of animal studies and posthumanism, where her research is frequently cited as the prime example of vegan feminism. However, her particular radical feminist framework, including her anti-pornography and anti-prostitution arguments, are rarely acknowledged or critiqued. This article challenges the premises of Adams’ argument, demonstrating that her version of vegan feminism is based upon an unsubstantiated comparison between violence against women and violence against other-than-human animals, and on the silencing and exclusion of sex workers as subjects. The article contests the limited reading of Adams, and of feminism, offered in some key works in animal studies and posthumanism, at the same time that it recognises the need to challenge the anthropocentrism evident in much feminist theory. By way of alternative approaches to the sexual politics of veganism, the article highlights the interventions of artist and activist Mirha-Soleil Ross, proposing that her situated and embodied commitment to animal rights brings sex worker agency into the story, while resisting simple comparisons among different forms of violence. The concerns raised by Ross overlap in compelling ways with recent research in performance studies and labour history, bringing the question of work and workers, animal and human, to the fore. These studies point towards a potentially more useful framework than that of Adams for understanding the human violence suffered by different species, including those destined to be eaten by people.     

urban spaces: gender,genre, mediation

After an initial period of feminist theorizing concerned with understanding patriarchy as a structure of male domination, many thinkers turned away from theorizing domination as such and focused instead on women's (constructed) subjectivity, identity, and agency. While this has fostered important insights into the formation of women's preferences, desires, and choices, this focus on subjectivity and subject formation has largely overshadowed deeper understandings of patriarchy as a structure of male domination while producing elisions between agency and freedom. In this article, I move to show how domination as a structural concept can help us to reclaim the idea of ‘patriarchy’ as a source of women's systematic oppression while freedom as non-domination, derived from early republican conceptualizations of freedom, can help us to disambiguate freedom from agency by taking as central the relative positions of actors within social and political structures. Structural freedom as non-domination is thus useful for feminist thinkers in that it gives us critical purchase on the dynamics inherent in unequal social and political relationships and can be linked clearly to the institutions and ideologies that shape and justify interactions between more powerful and less powerful groups. Further, from this point of view intersecting structures of domination can be analysed rather than intersecting identity categories, allowing us to take intersectionality into account and avoiding the need to ground feminist action on a unitary ‘category woman’. Finally, this analysis points toward the radical democratic connexion between freedom and participation in the creation of the material and symbolic structures that frame our collective lives.     

Alice Notley's disobedient cities

The American poet Alice Notley has described one of her goals as being to take up ‘as much literary space as any male poet’ (Notley, 2005: 6), a phrase that questions the nature of ‘literary space’, and its relationship to material and political spaces. In Disobedience (2001), as in her earlier book The Descent of Alette (1992), the city is imagined in relation to what lies beneath it. Both of these extended poem sequences set up urban underground geographies, Alette – a mythical underground of caves and ghostly trains, and Disobedience – a largely subterranean Paris that shifts between the ‘real’ metro and a series of filmic dreamscapes. In challenging the scope and scale of canonical epics with feminist reconfigurations of form, her work engages with the public space of the city. This article will explore the connection between the extended poetic forms she uses in these two books, and ways in which her work conceptualizes the gendering of city space through relationships between the body and language. Through reference to readings of Michel de Certeau by Meaghan Morris and Doreen Massey, I will show how Notley's approach to problems of language and form, and their potential solutions, are not only enmeshed in certain spatial concepts but also able to offer a critique of them.     

‘she found a way,left the child’: ‘child-shifting’ as the plantation's affects and love's paradox in Donna Hemans’ <Emphasis Type="Italic">River Woman</Emphasis>

This article proposes a situated reading of maternal love, loss and lovelessness in Donna Hemans’ novel River Woman, locating her text in relation to other contemporary Caribbean women writers and to the early fiction of Toni Morrison. I argue that the complex affects that her representation of ‘child-shifting’ produces, can be articulated both in relation to literary texts that re-imagine historical and contemporary practices leaving a child in order to save her, and in the context of the plantation, where ruptured ties at the level of community and culture continue to be reproduced in the personal, emotional and family spheres. I use the concept of marronage, developed in the work of Glissant and Depestre, to define strategies of survival that necessitated actual and imaginative flight or escape, to contextualise the complex affects of the plantation that are repeated and reproduced in the novel's present—the late twentieth-century Caribbean.     

Harvests of shame: enduring unfree labour in the twentieth-century United States, 1933–1964

This article reframes the discussion on vulnerable and exploited agricultural labour in twentieth-century United States using the overarching category of unfree labour. In order to do so, it bridges two usually distinct historiographies by linking the phenomenon of ‘peonage’ during the New Deal, with the one of immigrant contract labour in southern Florida, under the H2 visa. Archival research on the practices at the U.S. Sugar Corporation in southern Florida illustrates this link. The article draws on Federal archives, U.S. Government proceedings, papers of political activists and legal and labour scholarship to argue: firstly, that unfree labour has been an enduring feature of agricultural labour relations at regional level during the twentieth century, through both a transmission and a transformation of practices that had their origin in the control of black emancipated labour; secondly, that the introduction of `guest workers’ under the H2 and Bracero programme meant a modernisation in the practices of unfree labour, pivoting on the lack of citizenship rights, racial discrimination, debt at home and threat of deportation; and, finally, that the failure to recognise forms of legal and economic deprivation and coercion as unfree labour has hurt the ability of the United States to enforce protection of human rights at home.     

Pat Cadigan's <Emphasis Type="Italic">Synners</Emphasis>: Refiguring Nature,Science and Technology

This article analyses an anti-essentialist SF novel, focusing on the extent to which A anti-foundationalism enables a more accurate as well as a more productive representation of postmodernity. My argument stresses the ways in which Pat Cadigan's novel Synners, mostly because of its remarkable narrative form, challenges some of the most dangerous norms and normativity of American thought and culture. I argue, that, in order to understand this complex novel correctly, we must approach technoscience and transnational capitalism as separate, interacting discourses and material practices. The representations of technoscience, in the novel, are definitely not ‘figures’ for late capitalism: they are representations of a discourse which interacts with capitalism in the fictional world as in the real world.Contrary to what has been suggested by a number of critics writing about Foucault, use of this notion of discourse does not preclude use of notions of agency. As the queer theorists who have drawn on Foucault's work show, agency can be theorized in terms compatible with the notions of discourses, material practices and technologies. My discussion of Synners thus focuses on questions of agency, showing how Cadigan uses a deconstruction of Judeo-Christian religious tropes to argue for a responsible, and knowledgable, ‘incurably informed’ approach to technology.     

‘Gone are the Days’: Bisexual Perspectives on Lesbian/Feminist Literary Theory

In this article I offer a map of recent UK and US lesbian feminist literary theory which highlights the shifting and often paradoxical interpretations of lesbian sexuality as both real and as metaphorical. I focus on two key texts which offer overviews and analysis of the field from different sides of the Atlantic, which are both accessible, in the sense of being written from the perspective of ‘ordinary’ lesbians, rather than structuring lesbian feminist literary criticism around traditional critical concepts, and which also, unusually, offer some (small) comment on bisexuality. These two works are Bonnie Zimmerman's Safe Sea of Women (1992), and Palmer's Contemporary Lesbian Writing (1993). I argue that lesbian/feminist literary theory offers particular constructions of sexuality which, while challenging many of the assumptions of heterosexual feminist literary theory, largely ignores the bisexual content of much lesbian fiction, and consequently glosses over some of the tricky areas of gender and sexuality difference. Through this ‘les/bi’ reading I hope to encourage the figure of the bisexual woman to question both constructions and deconstructions of lesbian sexuality.     

Louise Bourgeois,ageing, and maternal bodies

This article explores late works by contemporary artist Louise Bourgeois that illuminate current concerns about ageing maternal bodies and the ambivalent responses of fear and loathing that they provoke. In 2003, Louise Bourgeois made an installation for the Freud Museum in Vienna entitled The Reticent Child, on the subject of her own earlier pregnancy and birth of her son, one of several works featuring maternity and fertility which Bourgeois has created in old age. In Nature Study 2007, made at the age of 96 years, she depicts carnal couples and pregnant and birthing figures embodied in brilliant pinks and scarlet reds. Bourgeois represents women as the powerful agents of the maternal function, marking a return to motherhood as a central topic of her earlier work. Edward Said posited sources of cultural meaning as ‘the whole notion of beginning, the moment of birth and origin … reproductive generation, maturity’, and ‘the last great problematic … the last and late period of life, the decay of the body’ (Said, 2006: 4–6). What does it mean for Bourgeois to return to the theme of birth in her nineties and how does it resonate with contemporary anxieties about the ageing maternal body? If the space of the gallery is a safe arena for a woman artist to present sexuality and maternity in old age, how are older women who break codes of fertility represented elsewhere? In a culture which is hostile to the conjunction of ageing women with motherhood, I shall argue that Bourgeois’ late maternal works can help to undo the taboo on older mothers.     

food

The shift to companionate marriage in South Asia and elsewhere is widely read as a move from ‘tradition’ to ‘modernity’ resulting in an expansion of individual agency, especially for women. This paper critically examines the narratives of urban middle-class women in Sri Lanka spanning three generations to illustrate that rather than indicating a radical shift in the way they negotiated between individual desires and social norms, the emphasis on ‘choice’ signals a shift in the narrative devices used in the presentation of the ‘self’. The paper illustrates how young women’s narratives about marriage appear to suggest ‘modernity’ as inevitable—that its processes are reconstituting the person who, less constrained by ‘tradition’ and collective expectations, is now experiencing greater freedom in the domain of marriage. However, it also shows how urban middle-class families in Sri Lanka have collectively invested in the narrative of choice through which ‘a choosing person’ is consciously created as a mark of the family’s modernity and progress. Rather than signalling freedom, these narratives about choice reveal how women are often burdened with the risks and responsibility of agency. The paper illustrates that the ‘choosing person’ is produced through narratives that emphasise agency as a responsibility that must be exercised with caution because women are expected by and obligated to their families to make the ‘right’ choices. Hence, a closer look at the individualised ‘choosing person’ reveals a less unitary, relational self with permeable boundaries embedded within and accountable to family and kinship.     

transness as debility: rethinking intersections between trans and disabled embodiments

Some authors in disability studies have identified limits of both the medical and social models of disability. They have developed an alternative model, which I call the ‘composite model of disability’, to theorise societies’ ableist norms and structures along with the subjective/phenomenological experience of disability. This model maintains that ableist oppression is not the only source of suffering for disabled people: impairment can be as well. From a feminist, queer, trans activist, anti-ableist perspective and using an intersectional, autoethnographic methodology, I apply this composite model of disability to trans identities to consider the potentially ‘debilitating’ aspects of transness. I argue that transness, like disability, has too often been perceived from two perspectives, medical or social, without the benefit of a third option. From a medical perspective, transness is reduced to an individual pathology curable with hormonal/surgical treatments, a conceptualisation that erases structural oppression. From a social point of view, transness is conceptualised as a neutral condition and variation in sex/gender identity. In this model, structural oppression (transphobia/cisgenderism) is seen as the only cause of ‘trans suffering’. I argue that, just as the medical and social models of disability provide limited opportunities for reflection on the complex experience of disability, medical and social understandings of transness, respectively, are insufficient to describe the complexity of trans experience. I explore the possibilities presented by the application of a composite model of disability in trans studies. By both problematising cisgenderist oppression and acknowledging trans people’s subjective experiences of suffering through some of the debilitating aspects of transness, this composite model avoids the pitfalls of the medical and social models. The application of tools from disability studies to trans issues uncovers cisnormativity in disability movements and denounces ableism in trans movements. This will, I hope, solidify alliances between these communities and fields of study.