Being a healthcare professional in both paediatric and adult hospitals will mean being exposed to human tragedies and stressful events involving conflict, misunderstanding, and moral distress. There are a number of different structured approaches to reflection and discussion designed to support healthcare professionals process and make sense of their feelings and experiences and to mitigate against direct and vicarious trauma. In this paper, we draw from our experience in a large children’s hospital and more broadly from the literature to identify (...) and analyse four established approaches to facilitated reflective discussions. Each of the four approaches seeks to acknowledge the stressful nature of health professional work and to support clinicians from all healthcare professions to develop sustainable skills so they continue to grow and thrive as health professionals. Each approach also has the potential to open up feelings of uncertainty, frustration, sorrow, anguish, and moral distress for participants. We argue, therefore, that in order to avoid unintentionally causing harm, a facilitator should have specific skills required to safely lead the discussion and be able to explain the nature, scope, safe application, and limits of each approach. With reference to a hypothetical but realistic clinical case scenario, we discuss the application and key features of each approach, including the goals, underpinning theory, and methods of facilitation. (shrink)

Background: Obtaining patients’ informed consent is an ethical and legal obligation in healthcare practice. Whilst the law provides prescriptive rules and guidelines, ethical theories of autonomy provide moral foundations. Models of practice of consent, have been developed in the bioethical literature to assist in understanding and integrating the ethical theory of autonomy and legal obligations into the clinical process of obtaining a patient’s informed consent to treatment.Aims: To review four models of consent and analyse the way each model incorporates the (...) ethical meaning of autonomy and how, as a consequence, they might change the actual communicative process of obtaining informed consent within clinical contexts.Methods: An iceberg framework of consent is used to conceptualise how ethical theories of autonomy are positioned and underpin the above surface, and visible clinical communication, including associated legal guidelines and ethical rules. Each model of consent is critically reviewed from the perspective of how it might shape the process of informed consent.Results and discussion: All four models would alter the process of obtaining consent. Two models provide structure and guidelines for the content and timing of obtaining patients’ consent. The two other models rely on an attitudinal shift in clinicians. They provide ideas for consent by focusing on underlying values, attitudes and meaning associated with the ethical meaning of autonomy.Conclusions: The paper concludes that models of practice that explicitly incorporate the underlying ethical meaning of autonomy as their basis, provide less prescriptive, but more theoretically rich guidance for healthcare communicative practices. (shrink)

As is so often the case in a common law system, the legal protection conferred by one strand of law is undermined by other legal provisions. There is no blanket legal duty which compels health care professionals to undergo HIV/AIDS tests; on the other hand, appropriately drafted contracts of employment, duties imposed by courts on employees and the risk of litigation by patients with pressurise individual workers to submit to testing. Whereas in Italy the law clearly condemned any compulsory testing (...) of health care workeers, but must now be interpreted to support it, in England and Wales each individual worker's case must be examined in order to determine whether testing must be submitted to. (shrink)

A notable feature of the COVID-19 pandemic is that children are less at risk of becoming infected or, if infected, less likely to become seriously unwell, so ethical discussions have consequently focused on the adult healthcare setting. However, despite a lower risk of children becoming acutely ill with COVID-19, there nevertheless may be significant and potentially sustained effects of COVID-19 on the physical, psychological, and emotional health and well-being of children. Focusing on the context of children’s cancer care, and specifically (...) bone marrow transplant, we describe some of these effects and then address one specific ethical challenge that arises. That is the question of what and how much to tell children whose cancer treatment has been changed because of COVID-19. Drawing on our previous work on the ethical reasons for telling the truth to younger children we link different ethical reasons to the different types of information that could be given to children in this context. We argue that children should be given an explanation of the changes that they will directly experience, including some changes to the process of their actual medical treatment; but not about increased risk associated with these changes, unless they specifically ask for this information. (shrink)

Bioethics, Volume 36, Issue 7, Page 765-773, September 2022.

Alderson critiques our recent book on the basis that it overlooks children’s own views about their medical treatment. In this response, we discuss the complexity of the paediatric clinical context and the value of diverse approaches to investigating paediatric ethics. Our book focuses on a specific problem: entrenched disagreements between doctors and parents about a child’s medical treatment in the context of a paediatric hospital. As clinical ethicists, our research question arose from clinicians’ concerns in practice: What should a clinician (...) do when he or she thinks that parents are choosing a treatment pathway that does not serve the child’s best interests? Alderson’s work, in contrast, focuses on the much broader issue of children’s role in decision-making about treatment and research. We argue that these different types of work are zooming in on different aspects of paediatric ethics, with its complex mix of agents, issues and relationships. Paediatric ethics overall needs a rich mix of approaches,... (shrink)

Young children with cancer are treated with interventions that can have a high risk of compromising their reproductive potential. ‘Fertility preservation’ for children who have not yet reached puberty involves surgically removing and cryopreserving reproductive tissue prior to treatment in the expectation that strategies for the use of this tissue will be developed in the future. Fertility preservation for prepubertal children is ethically complex because the techniques largely lack proven efficacy for this age group. There is professional difference of opinion (...) about whether it is ethical to offer such ‘experimental’ procedures. The question addressed in this paper is: when, if ever, is it ethically justifiable to offer fertility preservation surgery to prepubertal children? We present the ethical concerns about prepubertal fertility preservation, drawing both on existing literature and our experience discussing this issue with clinicians in clinical ethics case consultations. We argue that offering the procedure is ethically justifiable in certain circumstances. For many children, the balance of benefits and burdens is such that the procedure is ethically permissible but not ethically required; when the procedure is medically safe, it is the parents’ decision to make, with appropriate information and guidance from the treating clinicians. We suggest that clinical ethics support processes are necessary to assist clinicians to engage with the ethical complexity of prepubertal fertility preservation and describe the framework that has been integrated into the pathway of care for patients and families attending the Royal Children’s Hospital in Melbourne, Australia. (shrink)

Young children with cancer are treated with interventions that can have a high risk of compromising their reproductive potential. ‘Fertility preservation’ for children who have not yet reached puberty involves surgically removing and cryopreserving reproductive tissue prior to treatment in the expectation that strategies for the use of this tissue will be developed in the future. Fertility preservation for prepubertal children is ethically complex because the techniques largely lack proven efficacy for this age group. There is professional difference of opinion (...) about whether it is ethical to offer such ‘experimental’ procedures. The question addressed in this paper is: when, if ever, is it ethically justifiable to offer fertility preservation surgery to prepubertal children? We present the ethical concerns about prepubertal fertility preservation, drawing both on existing literature and our experience discussing this issue with clinicians in clinical ethics case consultations. We argue that offering the procedure is ethically justifiable in certain circumstances. For many children, the balance of benefits and burdens is such that the procedure is ethically permissible but not ethically required; when the procedure is medically safe, it is the parents’ decision to make, with appropriate information and guidance from the treating clinicians. We suggest that clinical ethics support processes are necessary to assist clinicians to engage with the ethical complexity of prepubertal fertility preservation and describe the framework that has been integrated into the pathway of care for patients and families attending the Royal Children’s Hospital in Melbourne, Australia. (shrink)

In this paper, we explore the ethics of restricting visitation to hospitals during an infectious disease outbreak. We aim to answer three questions: What are the features of an ethically justified hospital visitor restriction policy? Should policies include scope for case‐by‐case exemptions? How should decisions about exemptions be made? Based on a critical interpretive review of the existing ethical literature on visitor restrictions, we argue that an ethically justified hospital visitor restriction policy has the following features: proportionality, comprehensiveness, harm mitigation, (...) exemptions for specific patient populations, visitation decisions made separately from a patient's treating clinicians, transparency, and consistency in application. We also argue that an ethical policy ought to include scope for case‐by‐case exemptions for individual patients. We propose a process for ethical decision‐making that provides a shared language and structure to decrease the risks and burdens of decision‐making when clinicians or managers are considering requests for exemptions. (shrink)

ABSTRACT Samuel R. Delany is among a group of authors who revivified the utopian imagination in science fiction during the late 1960s and early 1970s. This article discusses Delany's novella “We, in Some Strange Power's Employ, Move on a Rigorous Line”. It revisits scholarship on Delany and on utopia to offer theoretical and historical perspectives concerning how this text, which has been lauded by reviewers but overlooked by scholars, represents an early contribution to the then-nascent genre of (...) the “critical utopia,” one that bears many of the genre's hallmarks and prefigures later works. “We, in Some Strange Power's Employ” narrates a mid-twenty-first-century clash between two fully articulated utopian visions. This article details how the tension between these diametrically opposed “worlds” foments critical scrutiny of both in order to gesture toward a utopian horizon beyond them. It also demonstrates how Delany's novella performs a critical utopian intervention in the cultural politics of its present. Through the “play of worlds” in the narrative's “possible future” Delany advances evenhanded critiques of both sides of the 1960s “culture war” while retaining the decade's utopian zeitgeist, a desire for an impossible “something else” beyond the culture/counterculture dichotomy. (shrink)

This article is driven by death. Thematically, death serves as a figure in the central creative works I discuss: Samuel R. Delany's sword-and-sorcery novella The Tale of Plagues and Carnivals, one of the first novels to deal directly with the AIDS pandemic,1 and Lou Reed's songs, especially the proto-punk "Heroin" and the queer soul song "Coney Island Baby." Meanwhile, the argument's methodology also concerns death. As many theorists and critics have discussed,2 the field of queer studies has seen, for (...) at least the past few decades, a general division between a methodology that isolates queerness as a singularly significant figure of identity and a more intersectional queer studies that figures sexuality within a... (shrink)

It would be difficult to overstate the impact of the work of Samuel R. Delany on the often-overlapping fields of science fiction (sf) studies and utopian studies. In his well-known 1982 essay, “Progress Versus Utopia, or, Can We Imagine the Future?” Fredric Jameson argues that Delany, along with Ursula Le Guin, Marge Piercy, and Joanna Russ, is among a socially engaged group of visionary authors who revivified the utopian imagination in sf during the 1960s and 1970s, and he (...) cites Delany’s Triton (1976), Le Guin’s The Dispossessed (1974), Piercy’s Woman on the Edge of Time (1976), and Russ’s The Female Man (1975) as “the most remarkable monuments” in this rebirth of utopia.1 Following Jameson and others, Tom Moylan .. (shrink)

"Us-and-Them fiction" of any sort has never particularly interested me. … Identity is basically a synonym for category, and while categories make language possible, they make problems in life—especially when your try to assign subjects to them. People almost never fit, or never fit for long.In a 2015 interview with Cecilia D'Anastasio, Samuel Delany shares his motivations for writing science fiction from his position as a queer black man. Despite his trepidation about the limiting "categories" within "us-and-them-fiction," and the (...) dangers of essentialist identity politics, Delany notes that his experiences are embedded in each of his texts—even when the protagonists are heterosexual, Asian, Native American, or... (shrink)

The essay provides both an interpretation and a theoretical reconstruction of the political philosophy of Martin Delany, a mid-nineteenth-century radical abolitionist and one of the founders of the doctrine of black nationalism. It identifies two competing strands in Delany's social thought, “classical” nationalism and “pragmatic” nationalism, where each underwrites a different conception of the analytical and normative underpinnings of black political solidarity. It is argued that the pragmatic variant is the more cogent of the two and the one (...) to which Delany is most committed. It is also suggested that pragmatic nationalism can still serve usefully as a theoretical schema through which African Americans can understand and carry out their current political projects. (shrink)

ABSTRACT “Utopia Is in the Blood: The Bodily Utopias of Martin R. Delany and Pauline Hopkins” considers how Delany and Hopkins employ the discourse of racial science in order to construct their own racial utopias. Focusing on Hopkins' Of One Blood and Delany's Principia of Ethnology, Reid argues that the genre of utopian writing enables both authors to refute contemporary scientif ic claims at the same time that they use the discourse of science to establish the utopian (...) past of Ethiopia. Both Delany and Hopkins reconf igure nineteenth-century and turn-of-the-century American racial science in their ethnological texts and reveal an epistemological vision of the scientif ic meaning of blackness through a utopian understanding of “black” blood. (shrink)

While even today lesbian, gay, bisexual and transgender people might have cause to distrust the healthcare establishment, how much more fragile was the relationship between sexual minorities and health professionals in the first decade of the AIDS epidemic. Dissent from consensus healthcare and health research then was a question of survival in the face of political and medical intransigence. This article focuses on one version of AIDS dissent: The narrative representations of AIDS in fiction by the gay African-American fantasy writer (...) Samuel R. Delany, which rejected the rigid binarism of “safe” and “unsafe” sex practices, Delany’s evidence-based dissent. He also engaged in a related form of cultural dissent: speaking the unspeakably obscene, at a time when Silence = Death. Delany called into question both the inferential leaps based on limited epidemiological research that were represented in safer sex guidelines and the widespread public reticence about sexual behavior. (shrink)

The history of the Wonder Woman comic book character is full of events and personalities as dramatic as the tales detailed in the text. The origins and development of this iconic female superhero demonstrate how competing ideas of what womanhood meant were reflected in popular culture. In this essay, the focus is on a particular issue of the Wonder Woman comic book, with a story by writer and literary critic Samuel R. Delany in 1972. In this issue Wonder Woman (...) takes on the role of a women’s liberation activist in New York City. This chapter in Wonder Woman’s history is either unknown or dismissed as misguided by many fans past and present, but it provides an interesting insight into how American comic books responded to second-wave feminism and Gloria Steinem’s appropriation of the Wonder Woman image. (shrink)

This article draws on the antebellum political thought of Black abolitionists Frederick Douglass and Martin Delany in critically assessing the efficacy of reasonableness in advancing the aims of emancipatory politics in political discourse. I argue, through a reading of Douglass and Delany, that comporting oneself reasonably in the face of oppressive ideology can be counterproductive, if one’s aim is to undermine such ideology and the institutions it supports. Douglass and Delany, I argue, also provide us with a (...) framework for evaluating alternative discursive strategies we might wish to employ in light of the limited value of reasonableness for emancipatory politics. (shrink)

Alex Zamalin's Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism offers the most thorough scholarly survey of African American utopian literature currently available. The scope of the project is ambitious—the book's chapters proceed chronologically from the genre's utopian beginnings in Martin Delany's Blake; Or, the Huts of America, through the anti-utopian turn of the twentieth century found in texts such as George Schuyler's Black Empire, and concluding with the ambiguous utopias and heterotopias of Octavia Butler (...) and Samuel Delany. Unlike recent scholarship on black speculative fiction (andré m. carrington, Sandra Jackson... (shrink)

There is a section in Samuel Delany’s magnificent autobiographical meditation, The Motion of Light in Water, that dramatically raises the problem of writing the history of difference, the history, that is, of the designation of “other,” of the attribution of characteristics that distinguish categories of people from some presumed norm.1 Delany recounts his reaction to his first visit to the St. Marks bathhouse in 1963. He remembers standing on the threshold of a “gym-sized room” dimly lit by blue (...) bulbs. The room was full of people, some standing, the rest an undulating mass of naked, male bodies, spread wall to wall. My first response was a kind of heart-thudding astonishment very close to fear. I have written of a space at certain libidinal saturation before. That was not what frightened me. It was rather that the saturation was not only kinesthetic but visible.2Watching the scene establishes for Delany a “fact that flew in the face” of the prevailing representation of homosexuals in the 1950s as “isolated perverts,” as subjects “gone awry.” The “apprehension of massed bodies” gave him a “sense of political power”:what this experience said was that there was a population—not of individual homosexuals … not of hundreds, not of thousands, but rather of millions of gay men, and that history had, actively and already, created for us whole galleries of institutions, good and bad, to accommodate our sex. [M, p. 174] 2. Samuel R. Delany, The Motion of Light in Water: Sex and Science Fiction Writing in the East Village, 1957-1965 , p. 173; hereafter abbreviated M. Joan W. Scott is professor of social science at the Institute for Advanced Study in Princeton, New Jersey. She is the author, most recently, of Gender and the Politics of History and is currently at work on a history of feminist claims for political rights in France during the period 1789-1945 as a way of exploring arguments about equality and difference. (shrink)

Within the history of African American struggle against racist oppression that often verges on dystopia, a hidden tradition has depicted a transfigured world. Daring to speculate on a future beyond white supremacy, black utopian artists and thinkers offer powerful visions of ways of being that are built on radical concepts of justice and freedom. They imagine a new black citizen who would inhabit a world that soars above all existing notions of the possible. In Black Utopia, Alex Zamalin offers a (...) groundbreaking examination of African American visions of social transformation and their counterutopian counterparts. Considering figures associated with racial separatism, postracialism, anticolonialism, Pan-Africanism, and Afrofuturism, he argues that the black utopian tradition continues to challenge American political thought and culture. Black Utopia spans black nationalist visions of an ideal Africa, the fiction of W. E. B. Du Bois, and Sun Ra’s cosmic mythology of alien abduction. Zamalin casts Samuel R. Delany and Octavia E. Butler as political theorists and reflects on the antiutopian challenges of George S. Schuyler and Richard Wright. Their thought proves that utopianism, rather than being politically immature or dangerous, can invigorate political imagination. Both an inspiring intellectual history and a critique of present power relations, this book suggests that, with democracy under siege across the globe, the black utopian tradition may be our best hope for combating injustice. (shrink)

Black Utopias posits a concept of utopia made possible by black people's exclusion from the human and expressed through the ecstatic practices, community creation, speculative fiction and music. Jayna Brown explores the practices and works of 19th century black women mystics as well as 20th century musicians and speculative fiction writers including mystics Sojourner Truth and Rebecca Cox Jackson, musicians Alice Coltrane and Sun Ra, and writers Samuel Delany and Octavia Butler.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bill Brandt: A LifeStuart Richmond, Professor of Arts EducationBill Brandt: A Life, by Paul Delany. Stanford California: Stanford University Press, 2004, 335 pp., $47.50 hardcover.From June to September 2003, Britain's famous art gallery, the Tate Modern, housed dramatically in a gigantic, renovated power station on the south bank of the Thames, held its first major photography exhibition, entitled Cruel and Tender after comments made by a critic (...) to describe the work of Walker Evans. The twenty-three artists in the show, including August Sander, Diane Arbus, Rineke Dijkkstra, William Eggleston, Walker Evans, Philip-Lorca diCorcia, and Thomas Ruff, were mainly Americans and Germans. Bill Brandt, who had a reputation as a documentary photographer, was not included. Writing in the catalogue, Tate director Nicholas Serota notes, "Cruel and Tender examines a form of documentary photography that keeps within the limits of the medium, stressing pure description.... Surrealist and Conceptual photography would fit more naturally into the programs and displays at the Tate, but the elusive and documentary qualities in straight photography challenge the traditions of the institution, by concentrating on a form of photography which explores the intrinsic aspects of the medium." In other words, "straight photography" serves as a kind of unemotional, uncreative narrative of ordinary life, avoiding drama, romanticism, sentimentality, deep coding, and, as far as possible, the expressive contributions of the artist. The relationship of photograph to reality, though problematic, is still interesting, according to the catalogue notes, and this contemporary work aims to inform us, literally, of the true essence, banal or otherwise, of our world. This approach acts implicitly to undermine the fake optimism of consumer capitalism.It will be useful to keep in mind this exhibition in considering the work of Brandt, for in the early 1980s Brandt was being lauded as Britain's greatest photographer, and he was nothing if not expressive. It was his métier to find the unusual in the everyday and to create meaning through careful staging and composition, drawing very much on his own personal outlook, aesthetic philosophy, and psychology. He believed all was permitted in photography, whether in the novel choice of lens, use of friends as models, or darkroom processing to achieve his vision. Rather than being a documentary photographer, at least in the purist sense of the Tate collection, he was more the poet ethnographer with a strong sense of the surreal. His was a vision that would be imposed on the world. After reading Paul Delany's excellent biography, it becomes clear why Brandt, all too soon, had become unfashionable in the eyes of the Tate organizers and contemporary photography at large. He is, nevertheless, an artist who can help us question the nature of reality while producing work that is often very complex and beautiful, and someone whose methods and ideas can serve as [End Page 118] a model of individual creative practice. The global interest in photography, the many significant exhibitions and books produced in the past decade, and the prices paid for photographs have by now lain to rest the old debate about whether photography is a genuine art form. As any serious photographer can attest, producing a photograph that has form, presence, and originality is dauntingly difficult, even though photography seems so easy. Everyone, today, has a camera. Yet, constantly fed with glitzy images from commerce and entertainment that direct our minds along certain well-worn grooves—a challenge for aesthetic education—budding artists require a certain strength of character and imagination to resist the literal and obvious and move toward a more authentic way of seeing. Delany's book shows how someone can defy fashion, as Brandt did for half a century, producing "pictorial" images layered with meaning and mystery. As an aside, despite the intent to show images that simply describe the world, some of the Tate pictures still manage, to my eye at least, to have their own ephemeral expressiveness, and at times great beauty, which raises the question, At what point does a document become a work of art? The Tate approach, with its strict theories, seems to be more interested in legislating than in exploring photographic practice.Biographies can... (shrink)

African American history resounds with calls for black unity. From abolitionist times through the Black Power movement, it was widely seen as a means of securing a full share of America's promised freedom and equality. Yet today, many believe that black solidarity is unnecessary, irrational, rooted in the illusion of "racial" difference, at odds with the goal of integration, and incompatible with liberal ideals and American democracy. A response to such critics, We Who Are Dark provides the first extended philosophical (...) defense of black political solidarity. Tommie Shelby argues that we can reject a biological idea of race and agree with many criticisms of identity politics yet still view black political solidarity as a needed emancipatory tool. In developing his defense of black solidarity, he draws on the history of black political thought, focusing on the canonical figures of Martin R. Delany and W. E. B. Du Bois, and he urges us to rethink many traditional conceptions of what black unity should entail. In this way, he contributes significantly to the larger effort to re-envision black politics and to modernize the objectives and strategies of black freedom struggles for the post-civil rights era. His book articulates a new African American political philosophy--one that rests firmly on anti-essentialist foundations and, at the same time, urges a commitment to defeating racism, to eliminating racial inequality, and to improving the opportunities of those racialized as "black.". (shrink)

Historically, for Black writers, literary fiction has been a site for transforming the discursive disciplinary spaces of political oppression. From 19th century “slave narratives” to the 20th century, Black novelists have created an impressive literary counter-canon in advancing liberatory struggles. W.E.B. Du Bois argued that “all art is political.” Many Black writers have used fiction to create spaces for political and social freedom—from the early work of Harriet Wilson’s Our Nig; or, Sketches from the Life of a Free Black (1859)—to (...) the enduring works of the Harlem Renaissance (Toomer, Hurston, and Schuyler)—to the great revolutionary Black literature after WWII (Wright, Baldwin, Williams)—to contemporary Black writers (Toni Morrison, Edward Jones, Samuel Delany)—Black fictive space continues to be a necessary site for resistance. Black literary fiction is a vast counter-canon to mainstream literature which unquestioningly reinforces global white supremacy, capitalistic political oppressions, and the dominance/subordinance relations upon which they depend. (shrink)

The essay provides both an interpretation and a theoretical reconstruction of the political philosophy of Martin Delany, a mid-nineteenth-century radical abolitionist and one of the founders of the doctrine of black nationalism. It identifies two competing strands in Delany's social thought, "classical" nationalism and "pragmatic" nationalism, where each underwrites a different conception of the analytical and normative underpinnings of black political solidarity. It is argued that the pragmatic variant is the more cogent of the two and the one (...) to which Delany is most committed. It is also suggested that pragmatic nationalism can still serve usefully as a theoretical schema through which African Americans can understand and carry out their current political projects. (shrink)

This book interrogates the nature and state of African American citizenship through the prism of Social Contract Theory. Challenging the United States’ commitment to African American citizenship, this book explores the idea of Social Nullification, the decision to reject, revoke and re-define the social contract with a state and society. Charles F. Peterson surveys the history of Social Contract Theory, examines Nullification as political and legal theory, argues public policy as a measure of the state’s commitment to the contractarian relationship (...) and frames the writings and activism of Martin R. Delany, Ida B. Wells-Barnett and the African American Reparations Movement as examples of Social Nullification and challenges to the terms of Black life in America. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Richard Janko's acclaimed translation of Aristotle's _Poetics_ is accompanied by the most comprehensive commentary available in English that does not presume knowledge of the original Greek. Two other unique features are Janko's translations with notes of both the _Tractatus Coislinianus_, which is argued to be a summary of the lost second book of the Poetics, and fragments of Aristotle’s dialogue On Poets, including recently discovered texts about catharsis, which appear in English for the first time.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Philosophy and the Modern African American Freedom Struggle: A Freedom Gaze by Anthony Sean NealKordell DixonPhilosophy and the Modern African American Freedom Struggle: A Freedom Gaze Anthony Sean Neal. Rowman & Littlefield, 2022.Philosophy and the Modern African American Freedom Struggle begins with a clear and concise establishment of its aim: to analyze and expand upon those figures mentioned when discussing the academic project of studying black people. Neal (...) broadens the account of black scholars examining racialized existence by centering his work on the modern era and its initiator W. E. B Du Bois. Neal develops an ethnic reflective canon that documents the long history of black thinkers attempting to define their blackness and advance the conception of freedom. This book does an excellent job of capturing the genealogical structure of the struggle for freedom. Within the work, Neal denotes that all relevant figures in this tradition are freedom gazers. These gazers are spectators of a radically imagined future liberated from the oppressive systems that encumber the persecuted. Du Bois's approach to freedom gazing uses academic training to examine his blackness and inevitably to solve the "race problem." What Neal provides the reader is a road map of the intellectual work of black scholars. This road map details the common themes among black thinkers and how these themes relate to Du Bois. Neal's intricate network of philosophers uses their experience and their expertise to write about what is necessary for black people to obtain freedom. Neal composes a complex and remarkable catalog of black scholars that demonstrates the interconnectedness and progression of black thought on oppression and liberation.In the second chapter, Neal elucidates why Du Bois is chosen as the inaugurator of the modern era. As a formally educated black man, Du Bois questions his experience and what tethers him to oppression. Neal uses Du Bois as a focal point, not because Du Bois is the first black person to document their struggle with their racialized existence, but because he believes that Du Bois is the first scholar to analyze the black experience completely. The holistic nature of Du Bois's study of the existential conflict that race can manifest within its subjects allows Du Bois's analysis to be used as a tool to unify other works that discuss race and the struggle for freedom. Neal expresses how other scholars such as Frederick Douglass, Martin Delany, and Anna Julia Cooper all had work that takes up a similar task as Du Bois's but lacks the fullness of Du Bois's study. Here, Neal does not articulate clearly [End Page 87] how these figures are inadequate with respect to their work. It could be argued that each scholar named could be said to have accomplished a task similar to that of Du Bois. However, how these figures are studied throughout different disciplines gives the impression that their examination of race and freedom is much more focused on one specific field. This point speaks to how we interpret the work of these scholars and not to these scholars' work itself. Neal proceeds to describe Du Bois as a freedom gazer and explains how Du Bois's imagining of black persons as freed would allot a perceptual framework that motivates them to proclaim their right to mental and physical freedom. Further, Neal establishes that Du Bois's position as a freedom gazer allows him to expand the ethnic reflective canon. This canon includes Ida B. Wells, whose journalism on the lynching of black people during the Reconstruction era made headway on what social sciences could contribute to the struggle against injustice. Anna Julia Cooper is included in this canon; her radically imagined future was thought to be achieved through education. Wells and Cooper proceeded and directly influenced the work of Du Bois, creating a lineage of radical social thought. Neal maps his transition through the intellectual work of black scholars by using conceptions of peace, rebellion, revolution, and freedom as relational markers. The reader can identify the relationships among the varied work of freedom gazers despite the vast range of their spatiotemporal placement.In the third chapter, Neal examines the subjects Hubert Harrison, William H... (shrink)

Ṣadr, Muḥammad Bāqir; Islamic philosophy; 20th century.

Classical Sanskrit commentary on Brahmasūtra; includes original Sanskrit text with English translation.

The article discusses two bioart projects that bring the symbolically core human substances of blood, sweat and tears into technologically mediated relationships with plants and fungi to explore human kinship with other species: Tarah Rhoda’s BS&T (short for ‘blood, sweat and tears’) and OurGlass, and Saša Spačal’s MycoMythologies: Patterning. The article analyses the art projects through the lens of the molecular gaze and different perspectives on kinning, bringing anthropological conceptualizations of kinship together with Haraway’s pathways to connect with other species. (...) How can bioart use technologies to explore interspecies kinship through a molecular gaze? And may such artworks contribute to the toning down of human exceptionality in the face of a precarious future? We find that artworks providing a molecular gaze on interspecies biological processes may risk a decontextualized approach to complex relational processes but may also create new visions of filiation even with biological organisms imagined to be genetically distant from humans, thus spurring awareness of the fragile interrelationships among species. (shrink)

Introduction:To meet and take care of people with dementia implicate professional and moral challenges for caregivers. Using force happens daily. However, staff also encounter challenges with the management in the units. Managing the caretaking function is also significant in how caretakers experience working in dementia care.Purpose:The purpose of this study is to explore the caregiver’s experiences with ethical challenges in dementia care settings and the significance of professional leadership in this context.Method:The design is qualitative, and data appear through narrative interviews. (...) A total of 23 caretakers participated in the study. The transcribed interviews were subjected to a phenomenological-hermeneutical interpretation.Ethical considerations:The respondents signed an informed consent for participation prior to the interviews. They were assured anonymity and confidentiality in the publication of the data. Ricoeur’s method for interpretation ensures anonymity as the researcher relates to the data as one collective text. The study is part of a larger research project in ethics, in its entirety approved in line with the Helsinki Convention.Results:The findings show that the caretakers experienced inadequacy. Some of them described a negative work atmosphere where they experienced that their leaders did not take them seriously. Because of this, informal negative sub-groups functioned as an exclusive debriefing arena. Some of the informants described the opposite experience where the leaders actively supported them.Discussion:The analyses of the findings are discussed in light of the concepts of trust and mistrust in leadership.Conclusion:There is a correlation between the leadership and the caregivers’ experience of being in difficult situations. (shrink)

Spinoza's Doctrine of God in Relation to His Conception of Causality TM Forsyth T, he truest vision ever had of God came, perhaps, here. ...