Michael O'Sullivan

Maureen E. Ruprecht Fadem

The Economics of Empire: Genealogies of Capital and the Colonial Encounter is a multi-disciplinary intervention into postcolonial theory that constructs and theorizes a political economy of empire. This comprehensive collection traces the financial genealogies associated with the colonial enterprise, the strategies of economic precarity, the pedigrees of capital, and the narratives of exploitation that underlay and determined the course of modern history. One of the first attempts to take this approach in postcolonial studies, the book seeks to sketch the commensal relation—a symbiotic "phoresy"—between capitalism and colonialism, reading them as linked structures that carried and sustained each other through and across the modern era. The scholars represented here are all postcolonial critics working in a range of disciplines, including Political Science, Sociology, History, Peace and Conflict Studies, Legal Studies, and Literary Criticism, exploring the connections between empire and capital, and the historical and political implications of that structural hinge. Each author engages existing postcolonial and poststructuralist theory and criticism while bridging it over to research and analytic lenses less frequently engaged by postcolonial critics. In so doing, they devise novel intersectional and interdisciplinary frameworks through which to produce more greatly nuanced understandings of imperialism, capitalism, and their inextricable relation, ‘new’ postcolonial critiques of empire for the 21st century. This book will be an excellent resource for students and researchers of Postcolonial Studies, Literature, History, Sociology, Economics, Political Science and International Studies, among others.

Genealogies of Capital and the Colonial Encounter

The Economics of Empire

Silence and Articulacy in the Poetry of Medbh McGuckian is an innovative contribution to the scholarship on Belfast poet, Medbh McGuckian. This book considers the entire oeuvre of this globally respected Irish woman writer, a member of the contemporary avant-garde with now fifteen (U.S. published) volumes and numerous individual publications. The author positions McGuckian’s oeuvre as political and historical poetry and offers a provocative new assessment of its crafted silences. This work argues that it is the muted character of McGuckian’s poems—a consequence of a defamiliarized language, the overwhelming sway of the image, and a profusion of intertextual quoting—that constitutes their agency and force. The silences are read as a response to the precarious positionality of poet and speaker at the site of “disaster” and the limits of articulacy. In line with Rukeyser’s notion of the life of poetry, the life of McGuckian's silences is located, Fadem argues, in the poems’ production, as revealed self-reflexively, and in their prolonged consumption. This oeuvre operates as a formidable counter-discourse by converting poetry's reception into a much protracted task that redistributes the temporal economy of poem and reader and disrupts the given structures of time, place, and the order of things.

Silence and Articulacy in the Poetry of Medbh McGuckian

Objects and Intertexts in Toni Morrison’s “Beloved”: The Case for Reparations is an inspired contribution to the scholarship on one of the most influential American novels and novelists. The author positions this contemporary classic as a meditation on historical justice and re-comprehends it as both a formal tragedy— a generic translation of fiction and tragedy or a “novel-tragedy” (Kliger)—and a novel of objects. Its many things—literary, conceptual, linguistic— are viewed as vessels carrying the (hi)story and the political concerns. From this, a third conclusion is drawn: Fadem argues for a view of Beloved as a case for reparations. That status is founded on two outstanding object lessons: the character of Beloved as embodiment of the subject-object relations defining the slave state and the grammatical object “weather” in the sentence “The rest is...” on the novel’s final page. This intertextual reference places Beloved in a comparative link with Hamlet and Oresteia. Fadem’s research is meticulous in engaging the full spectrum of tragedy theory, much critical theory, and a full swathe of scholarship on the novel. Few critics take up the matter of reparations, still fewer the politics of genre, craft, and form. This scholar posits Morrison’s tragedy as constituting a searing critique of modernity, as composed through meaningful intertextualities and as crafted by profound “thingly” objects (Brown). Altogether, Fadem has divined a fascinating singular treatment of Beloved exploring the connections between form and craft together with critical historical and political implications. The book argues, finally, that this novel’s first concern is justice, and its chief aim to serve as a clarion call for material— and not merely symbolic—reparations.

Maureen E. Ruprecht Fadem

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