In this “hundreds” honoring Kathleen Stewart, I evoke a scene from my childhood to dwell on misrecognition and the intensities of what José Estaban Muñoz (2020) describes as a “sense of Brown,” that plural yet particular relatedness that emerges out of the displacements and intimacies of coloniality.
In this “hundreds” honoring Kathleen Stewart, I reflect on how a turn to affect can attune us to the emergent, to unfinished worlds, to futures as they throw themselves together, to things slipping in and out of existence, and to what lies nascent in the atmosphere. In darker moments, such as the aftermath of revolutions, the weight of the future can become unbearable.
Part of a book forum on Srila Roy's Changing the Subject, this essay hones in on Roy's theorization of labor in feminist governmentality—from the underpaid labors of non-profit workers to the reproductive labors that vitalize feminist and queer rights movements to the care labors for target groups and the aesthetic labors of the workers in how they present themselves at work. These labors simultaneously contain and enable visions of social transformation. The labors that keep feminist and queer organizing alive are becoming more exhausting and challenging under a totalitarian regime. Hence, defensiveness is, more often than not, the default response to any critique of the politics of such labors. This essay asks if it is possible to engage with such defensiveness as an entry point to explore the everyday workings of queer and feminist mobilizations.
This piece is part of a special section inspired by Berlant and Stewart's book The Hundreds. Using only one hundred words, it offers an ethnographic portrait of my encounter with an Indonesian therapist specializing in “energy-based hypnosis” and of the role of digital content creation in his life and professional practice.
Traversing between museum, archive, and community, this flash ethnography explores the tensions and possibilities of museum collections research today. As museums increasingly strive to repair relationships with descendant communities via collaboration and renewed access to collections, lingering questions remain. Where do cultural items belong, how should they be cared for, and by whom? I draw attention to the potential limits of familiar museum tools of documentation and preservation—databases, storage boxes, and cotton gloves—that become illuminated when cultural items travel home to communities. Ultimately, I seek to complicate the museum's capacity to care for the complex, lively, and storied belongings that “collections” indeed are.
In this “hundreds” written in honor of Kathleen Stewart, I consider the scorching pain of lonely death in Japan that gets quelled, if only a bit, by the prayer offered by a Japanese worker in cleaning up the mess of the remains left behind.
“Near Far” is a work in progress of “flashlets”/flash ethnography engaging questions of nearness and farness, intimacy and distance, through geographic and affective terrain. The work, a hybrid form at the border of ethnography, creative nonfiction, and poetry, pivots around the Hebrides (the ethnographic case study for “remoteness”), my wife's home.
This piece is part of a special section of “hundreds” in honor of Kathleen Stewart. It reflects on a mass shooting in California through her sense of “atmosphere.”
This contribution to the special section “100s for Katie” attempts to communicate the depth and breadth of the hatred infecting contemporary America in one hundred words.
In this short piece inspired by The Hundreds and written to honor Katie Stewart's work, I reflect on the force of glimpsing people's workaday humanity—particularly when it comes to writing anthropology's “repugnant others.”
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