Joshua Clover

Ferguson. Tottenham. Clichy-Sous-Bois. Oakland. In recent decades we have returned to an 'age of riots' as the prominent form of struggle against the abuses of capitalism. This theoretical and historical account by award-winning poet Joshua Clover explores how riots were the leading form of protest in the 17th and 18th centuries, were supplanted by the strike in the early 19th century, and then reemerged as the preeminent form in the early 1970s. From the early years of worker s demands for increased wages through riots to recent social demands for economic equality through occupation, Clover also looks at historical moments like the economic crisis of 1968 and the decline of organised labour from the perspective of changes in protest tactics. As social unrest against government and corporate abuses continues to grow, this valuable history and theoretical framework will help guide future activists in their struggles for justice.

The New Era of Uprisings

Riot. Strike. Riot

The Matrix (BFI Modern Classics)

Röd epik

In his first collection, Joshua Clover presents a harrowing poetic manifesto for the coming century. Clover fuses formal control, a solid grounding in poetic tradition (his allusions range from Shakespeare to Dickinson to John Cale), and sheer visionary exhilaration into a technical, moral, aesthetic, and imaginative lexicon that irradiates each page. The eerie cyberglow of Clover's lines illuminates a pageant of blurred and fragmented desolation: the Bomb, death camps, the Persian Gulf War, the beating of Rodney King, the whole numbing litany of modern horrors. Clover is a master of poetic shorthand, of the stark, unnerving image as immediate as yellow tape at a crime scene. Madonna anno domini is a sacrament for the twilight of the atomic age, a hellish Interzone with "God in abeyance" where dazed speakers search through the vertigo of negation for love and belief. And here. in this utterly convincing vision of a world whose center has long since lost its hold, we see the life on whose brink we, at the end of the millennium, find ourselves poised.

Poems

Madonna Anno Domini

"Fierce intelligence, fierce understanding of social issues, and fierce sense of the power of artifice. This is major work, haunted by a sense of totality always present in the formal intricacy and in the roles cities and architecture play. I think of these poems as crossing the cool, allusive intricacy of Quentin Tarantino with the abstract, intense social passion of Walter Benjamin."—Charles Altieri, author of The Art of Twentieth-Century American Poetry: Modernism and After "The Totality for Kids is a stunning collection that charts the 'the modern and its endnotes,' as voiced in one Clover poem. There is no conceptual abstraction here without its color, motion, and syntax. The poems form an urban and linguistic landscape of contemporary life, in many ways, written in the shadow of Adorno who himself wrote in the shadows of the modern. In this brilliant volume, the fragmented world of a late and lost modernity has its own moving and lucid affect, its forms of aliveness. We encounter here an enormous clarity of language in the service of a poetics that brilliantly queries our historical moment in and as form."—Judith Butler, author of Precarious Life: Powers of Mourning and Violence

The Totality for Kids

The Matrix (1999), directed by the Wachowski sisters and produced by Joel Silver, was a true end-of-the-millennium movie, a statement of the American zeitgeist, and, as the original film in a blockbusting franchise, a prognosis for the future of big-budget Hollywood film-making. Starring Keanu Reeves as Neo, a computer programmer transformed into a messianic freedom fighter, The Matrix blends science fiction with conspiracy thriller conventions and outlandish martial arts created with groundbreaking digital techniques. A box-office triumph, the film was no populist confection: its blatant allusions to highbrow contemporary philosophy added to its appeal as a mystery to be decoded. In this compelling study, Joshua Clover undertakes the task of decoding the film. Examining The Matrix's digital effects and how they were achieved, he shows how the film represents a melding of cinema and video games (the greatest commercial threat to have faced Hollywood since the advent of television) and achieves a hybrid kind of immersive entertainment. He also unpacks the movie's references to philosophy, showing how The Matrix ultimately expresses the crisis American culture faced at the end of the 1990s.

The Matrix

Jonathan Richman and the Modern Lovers' 1972 song “Roadrunner” captures the freedom and wonder of cruising down the highway late at night with the radio on. Although the song circles Boston's beltway, its significance reaches far beyond Richman's deceptively simple declarations of love for modern moonlight, the made world, and rock & roll. In Roadrunner, cultural theorist and poet Joshua Clover charts both the song's emotional power and its elaborate history, tracing its place in popular music from Chuck Berry to M.I.A. He also locates “Roadrunner” at the intersection of car culture, industrialization, consumption, mobility, and politics. Like the song itself, Clover tells a story about a particular time and place—the American era that rock & roll signifies—that becomes a story about love and the modern world.

Roadrunner

"Joshua Clover finally puts the lie to the tiresome cliche that 'writing about music is like dancing about architecture.' He shows definitively that when the time is right, architecture is precisely what people do dance about."—Greil Marcus, author of Lipstick Traces

Joshua Clover

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