Last week someone asked me, “What is the difference between globalization and neoliberalism?” The question isn’t as innocent as it sounds. If all of us are imprecated in the cat-and-mouse game of cause and effect, who wouldn’t apprehend the pair—at the bare minimum—as kissing cousins to the twin towers? Sure to go down, in historical terms, this is how the world turns: purgative reportage from Iraq serves as the perennial reality-check, presumptive as the corrective, Well, at least, I don’t live in Fallujah. Packing a one-two punch, purple-hearted Michigan slumps deeper into the driver’s seat of depression. Aggressively passive, voters pass Proposition 2, designer-drug legislation with the intent to euthanize affirmative action (euphemised “The Civil Rights Initiative”), even as the state’s Supreme Court rescinds queer Michiganders’ bare-boned benefits. I wonder, Where did I move? A friend explains to me the intricacies of false advertising, Here is the shape of the mitt, we’re somewhere to the thumb’s Left. Directionally impaired, tone-deaf, I take cartography in like a fist. Stone-butch blues infuse the landscape with touching resistance. Industry, like a snow-bird, flexes its mobile muscles, while, individuals (hermetically sealed) orchestrate equally market-driven Jackie Brown heists of citizenship. I will grant you the once removed diehard few who stay put for museums’ erections. One for the auto, two for the Arab-American, three for the Motor City’s revitalization (Don’t mourn, organize). In the hospital, I sit elongated hours with my son. A woman eyes us and no one in particular, Is your kid Mexican? Calloused malice, like a flag at half-mast, hangs haggard as her expression when summoned. Six degrees of separation, peripheral as vision, somebody’s piling it on: Once upon a time, it would have made a world of difference to partake of the blue pill instead of the red. Let’s split the difference—civilization and its discontents, globalization/neoliberalism, the New World’s Borderization. How schmaltzy to recycle the local’s ashes when the trans-planted’s rejection looms, imminent as an organ. The chickens have come home to roost, environmentalism’s ogres are loose, and we can only talk about the whether. Or not. Underground, centrifugal truth pacts a Faustian plot. Lot’s pillar salts and melts, but recasts its lot with the dammed—“new ethnicities” on the horizon that slouch toward Bethlehem, terra-forming interactive screens. The night is young, middle age, a means to an end. Sipping creature comforts, pretend that the performatively tautological amends the conciliatory constellations of History, that the sciences of fiction stand on the shoulders of their own—two feet under. If you follow this totemically taboo logic, even planets become subaltern subjects. Witness Pluto’s recent downgrade. Now try to make an alternate case for the “Recline of the West.” Expect nothing less than a free Fall into the postscriptual.
Image Credits: Mexican Kid by Anastasia Petukhova
Amy Sara Carroll’s books include SECESSION; FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography, chosen by Claudia Rankine for the 2012 Poets Out Loud Prize; and REMEX: Toward an Art History of the NAFTA Era which received honorable mentions for the 2017 MLA Katherine Singer Kovacs Prize, the 2018 Latin American Studies Association Mexico Section Best Book in the Humanities, and the 2019 Association for Latin American Art-Arvey Foundation Book Award. Since 2008, she has been a member of Electronic Disturbance Theater 2.0, coproducing the Transborder Immigrant Tool. She coauthored [({ })] The Desert Survival Series/La serie de sobrevivencia del desierto which was published under a Creative Commons license and widely redistributed. Carroll was a 2017-2018 Fellow in Cornell University’s Society for the Humanities and a 2018-2019 Fellow in the University of Texas at Austin’s Latino Research Initiative. Winter 2021, she was an artist-in-residence with other members of EDT 2.0 at the University of California, Los Angeles’s Luskin Institute on Inequality and Democracy. Fall 2022, Mexico City’s Centro de Cultura Digital included her chapbook ¡NIFTY! [an intimate oral history/una historia oral íntima] in the exhibition catalog for Cuánto tiempo lleva todo esto derramándose sin desbordarse. Previously she taught at The New School in New York City, currently she’s an Associate Professor of Literature and Writing at the University of California, San Diego.