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A reconstruction of Cold War-era cultural networks between the Second and Third Worlds that offers a compelling genealogy of contemporary postcolonial studies.

Djagalov R: From Internationalism to
Postcolonialism

From Internationalism to Postcolonialism

Literature and Cinema Between the Second and the Third Worlds

Written when Ingeborg Bachmann was only eighteen, The Honditsch Cross, her second-longest completed work of prose, is a historical novella set during the final days of the Napoleonic occupation of Austria in 1813.
A young theology student, returning from Vienna to his family home in Carinthia, finds the invading troops stationed there, led by a despotic officer, who has been exploiting and terrorizing his family and friends. He is immediately thrown into the center of the conflict, torn between defending his homeland, the pull of physical desire, and the pursuit of his theological studies...
In this gripping work, Bachmann begins to explore themes that will pre-occupy her for the rest of her writing career: complex notions of nationality and patriotism, the roles and rights of women in patriarchal societies, the meaningless destruction of war and its aftermath, and the bitter moments of disillusionment that lead to intellectual maturity

The Honditsch Cross

The bestselling and award-winning German author Jenny Erpenbeck has gained international praise for her novels including Visitation, Kairos, and Go, Went, Gone. Things that Disappear is an exciting collection of interlinked miniature prose pieces that grapple with the phenomenon of disappearance on scales both large and small. The things that disappear in these pages range from everyday objects such as socks and cheese to close friends and the social norms of common courtesy, to sites and objects resonant with East German history, such as the Palace of the Republic or the lines of sight now blocked by new construction in Berlin. Erpenbeck asks: "Is there some kind of perpetrator who makes things that I know cherish and disappear?" These things disappear, and yet do they really? Do they remain in our memories more fully than if they continued to exist? Translated beautifully by Kurt Beals, Things that Disappear follows on the heels of Erpenbeck's Man Booker-Prize winning novel Kairos and offers a window into a renowned writer's sense of the past, and of her own self as a writer.

Things That Disappear

When Bichette, the eponymous Tigress and uncrowned queen of Paris prostitutes, meets the grifter Fec, the unbelievable seems to happen: she is "tamed" and falls head over heels for him -- and he for her. This sets off a dangerous game that spirals toward wild escalation in the luxury hotels and casinos of the French Riviera before reaching its grotesque culmination in Montmartre. The nihilism and invented personas recall Serner's engagement with Dada as nothing anyone says or does can be taken at face value. Everything becomes a con, and love the greatest con of all. Responding to initial attempts to ban The Tigress for its erotic content and demimonde patois by having it placed on a list of "trash and smut writings," many well-known authors, such as Alfred Döblin, wrote testimonials in support of it.

A Curious Love Story

The Tigress

Coming to you at the intersection of book and tapestry, the seventy-ninth issue of our National Magazine Award-winning quarterly is embroidered from head to toe-using precisely 133,095 stitches of thread-with the art of Marta Monteiro. Inside this tactile, textile, tangerine-backdropped, cloth-bound art object are nine new stories, three fresh novel excerpts, six timely letters, an essay as sharp as a blade, a stunningly surreal slice of a graphic novel by Patrick Keck, and a shockingly beautiful, hot-pink suite of Mary Magdalenes painted by Leanne Shapton. As your fingers caress the raised topography of this issue's beyond-belief weave, marvel at a story by Joseph Earl Thomas in which time stops mid-dunk; a novel excerpt by Helen DeWitt and Ilya Gridneff in which invented languages make a play; a story by Ahmed Naji that circles Cairo rap clashes; a captivating, climate-terror portrait of a story by T.C. Boyle; three totally crisp, sentence-gem-adorned stories by Diane Williams; dazzling letters by Jac Jemc, Meng Jin, Rebekah Bergman, and so much more! Blow a kiss goodbye to summer, and brush your hands over the neon-threaded landscape of Issue 79 to feel a magazine that, both inside and out, is truly like no other. Ever changing, each issue of the quarterly is completely redesigned (there have been hardcovers and paperbacks, an issue with two spines, an issue with a magnetic binding, an issue that looked like a bundle of junk mail, and an issue that looked like a sweaty human head), but always brings you the very best in new literary fiction.

McSweeney's Issue 79 (McSweeney's Quarterly Concern)

Malleable and True: A Hybrid Craft Anthology, the first publication of the Brink Books imprint, is a dynamic collection for readers, writers, and educators that explores the complexity and craft of hybrid writing. An unparalleled project, the anthology features work from past contributors such as Arisa White, Gyasi Hall, Elissa Washuta, Sarah Minor, Wendy Cheng, Beth Ann Fennelly, Victoria Chang, Bennett Sims, Elizabeth McTernan, Granville Carroll, and Anna Joy Springer. In this anthology, curiosity is the driving force, as select contributors from Brink Literary Journal's first ten issues re-engage with their previously published pieces in three ways, offering new work, craft prompts, and reflections on hybrid writing: <ul><li>ENGAGE: Alongside the original piece, you'll find new work that engages with the original in a fresh and meaningful way, such as updates to the original piece, process notes, new pieces that are connected to the original, and so on.</li><li>GENERATE: To foster engagement and exploration, each contributor has provided generative prompts related to their work and hybrid writing in general. This empowers readers and educators to delve deeper into the world of hybrid writing, sparking creativity and dialogue.</li><li>REFLECT: Hybrid work is notoriously slippery and hard to define. That's why we've asked our contributors to share their reflections on what hybrid writing means to them, providing valuable insight into its diverse forms and potentials.</li></ul>

A Hybrid Craft Anthology from Brink Literary Journal

Malleable and True

Cutaways

"Beugnet's ingenious insights seep like a fog into once-crisp categories of film analysis, unsettling notions of blur as visual deficiency. Near-sighted characters, formless smudges, teary and weary vision, and perspectival and atmospheric distortions energize this compelling love song to the affordances of and cinematic predisposition toward visual chaos, vagueness, uncertainty and confusion. Clearly, it's the perfect moment for both cinema and blur."--Karen Redrobe, author of Crash: Cinema and the Politics of Speed and Stasis In cinema, blurriness is usually intended to go unnoticed. When it appears it is either considered an error -- a mistake of focus or a technological failure -- or a background effect of shallow focus intended to offset a defined image. As Martine Beugnet argues, however, blur is an essential feature of the cinema, possessing its own properties and affordances, and capable of powerful effects. Examining an array of notable examples of blurriness from horror to art cinema and experimental film, and including the works of the Lumière brothers, Josef von Sternberg, Agnès Varda and many others, she develops a taxonomy of blurs, from speed and motion blur to the hand-held, "shaky camera" blur common in contemporary digital cinema. These wide-ranging instances all return the viewer to the sensorial and material qualities of the moving image. In the face of technological developments that valorize sharpness as an indicator of progress, blur stands as a provocative reminder of the value of uncertainty--a sign of the irreducible mystery at the heart of the filmic image. Martine Beugnet is Professor in Visual Studies at the Université Paris Cité and a member of ECHELLES, a CNRS research institute.

Blur

The multifaceted, cubist, and comprehensive perspective of Forty-Three Ways of Looking at Hemingway appears on the fortieth anniversary of Meyers's magisterial biography of Hemingway. This approach has never before been used to illustrate the complexity of his character, the range of his interests, and the brilliance of his work. This authoritative book uses sources in Italian, Spanish, French, and German. It reveals his reading of literature and history, his transformation of friends into fiction, his personal battles and mythic stature, his persona and ever-growing legend. This work analyzes his name and background, early work, friendships, relations with artists, connections to contemporary writers, description of historical figures and events, war reporting, military experience, life in Cuba, links with Hollywood, wives and lovers as well as the novels that influenced The Sun Also Rises and the background of "The Short Happy Life of Francis Macomber." It also considers Hemingway's feasts, humor, quarrels, self-condemnation, Nobel Prize, unwritten works, suicide, and lasting achievements.

Forty-Three Ways of Looking at Hemingway

Succinct and comprehensive, this updated and expanded edition of A Short History of Film provides an accessible overview of the major movements, directors, studios, and genres from the 1880s to the present.

A Short History of Film

A rich exploration of the many ways women shaped the economic and cultural life of the eighteenth and nineteenth century.

This collection redefines the role of women in the development of modern capitalism, revealing their active participation as investors, entrepreneurs, theorists, and cultural producers between 1770 and 1914. Drawing on archival research and literary analysis, the essays uncover how women shaped financial systems, navigated market constraints, and leveraged sentiment, education, and capital to assert economic agency.


Bridging literary studies with social and economic history, Women, Money and Markets challenges the conventional portrayal of the marketplace as a purely rational domain, highlighting instead the emotional and relational dynamics that underpinned women's economic lives. From shareholder lists to fictional representations, contributors explore how women influenced the financialisation of the economy and contested their marginalisation in both historical records and cultural narratives.


Featuring fresh readings of authors like Wollstonecraft and Gaskell alongside lesser-known voices, this volume offers a plural and nuanced account of women's economic engagement, and its representation, across diverse contexts. It is essential reading for scholars of literature, history, gender studies, and anyone interested in the invisible hands that helped shape the modern world.

EMMA NEWPORT is Senior Lecturer in English at the University of Sussex.
JOYCE GOGGIN is Associate Professor of Literature at the University of Amsterdam.

Representing the Invisible Hands of the Economy

Women, Money and Markets, 1770-1914

On 3 July 1930, a maid discovered the dead body of her employer on the floor of the sitting room in an upmarket apartment in Temple, London. The victim was 37-year-old Sidney Russell Cooke, mysteriously shot through the stomach by a hunting rifle. He was the husband of Titanic Captain Edward Smith's only daughter, Helen, known to friends as 'Mel'. Unknown to many, he was also an MI5 spy, described as a 'prototype James Bond' - and the esteemed Cambridge economist John Maynard Keynes' lover. Never before published private letters and family photographs tell the true, untold story of a legendary captain, the mysterious death of a British spy and an inspirational daughter who stepped out of the shadow of misfortune to carve her own path. By the time Mel was 49 she had lost her father, mother, husband, son, and daughter, all in unusual circumstances. Yet she would become a pilot, a driver of fast cars, an artist's muse and collector of fine art, living within a coterie of suffragettes, politicians, Russian spies, yachtsmen, gay lovers and the fabulously wealthy.

The Captain, the Daughter and the Spy

Titanic Legacy

Gegenwärtig erleben wir eine zunehmende gesellschaftliche Diversifizierung und zugleich einen rechtskonservativen Backlash gegen diese Tendenz. In dieser paradoxen Situation gleichzeitiger Fort- und Rückschritte ist eine wissenschaftliche Auseinandersetzung mit Differenz enorm wichtig. Diese kann sich auf Kategorien wie Geschlecht, Klasse, 
 race
 , Alter oder Mensch/Tier beziehen; Differenzierungen finden sich aber auch in Film und Medien, wenn es um Gegensätze wie hell/dunkel oder Close Up/Totale geht. All diese und weitere Dimensionen von Differenz nimmt der Band als komplexe Gebilde kritisch in den Blick und bezieht sie (neu) aufeinander.
 Im Mittelpunkt der Beiträge stehen spezifische mediale, materielle und soziale Konstellationen, in denen Differenzen ausgehandelt werden. Diese versammeln dabei ein breites Themenspektrum, etwa verschiedene künstlerische Verfahren, die Darstellung von Migration und jüdischer Differenzerfahrung im Film, auf Sport bezogene Unterscheidungen, politische Verhältnisse in Kolumbien oder queere und diasporische Perspektiven. Im Weiterdenken intersektionaler Forschungen, die vor allem soziale Differenzen produktiv in Beziehung setzen, kommt den Bildausschnitten, Montagen, Dispositiven, Sounds etc. besondere Aufmerksamkeit zu.
 Die Wendung "differences that matter", mit der u.a. Donna Haraway, Sara Ahmed und Karen Barad argumentieren, gibt einen zentralen Impuls für den Band. 'Unterschiede von materieller Bedeutung' beziehen sich auf entsprechende Forderungen nach Ausdifferenzierung durch kapitalismus- und rassismuskritische Feministinnen of Color bereits seit dem 19. Jahrhundert. Gleichzeitig klingt in 
 Matters of Difference
 die unterschiedliche Wertigkeit der Kategorisierungen selbst an: In einer konkreten Figuration sind bestimmte Differenzen von größerem Gewicht als andere, und auch diese Unterscheidung ist sowohl hergestellt als auch mit materiellen und politischen Implikationen verbunden. Inwiefern kann die Orientierung an komplexen Differenzbeziehungen politisch produktiv sein und welche Rolle spielen dabei filmische, mediale und diskursive Dimensionen?
 Matters of Difference
 bildet den Auftakt der neuen Reihe 
 Figurationen - Filmische und mediale Verflechtungen von Differenz
 , die sich mit Fragen, Prozessen und Wahrnehmungen von Differenzverhältnissen befasst.
 Mit Beiträgen von
 Svea Bräunert, Angelica Fenner, Natascha Frankenberg, Karin Harrasser, Bettina Henzler, Till Kadritzke, Katrin Köppert, Gwendolin Lehnerer, Vera Mader, Winfried Pauleit, Drehli Robnik, Julia Schumacher / Lea Wohl von Haselberg, Markus Stauff und Susann Winsel.

Filmische, mediale und diskursive Differenzverflechtungen

Matters of Difference

Wittgenstein's philosophy is directly related to the semiotic discipline to understand the signs, their processes, and signalling. Wittgenstein's nervous system was a semiotic model of control and power to make choices. To examine this critical question, Wittgenstein &amp; Semiotics discusses the cultural climate of Wittgenstein to follow (or not) the classics, Saussure and Peirce. His word-play reflects historically how modern society transfigured the disasters of two World Wars into belief and action to meet with Wittgenstein's linguistic reaction. Wittgenstein's polemical style reflected the Zeitgeist of a new structure of writing philosophy based on the special force of semiotics. By coding and decoding one message to another, Wittgenstein saw how the exchanges of signs are carried out to renew cultural society. His linguistic sign functions in direct speech to interpret the structure of signs into the signification to the readers. Wittgenstein's use of semiotics contributed to the cultural technique of the growth of interdisciplinary fields in scholarly disciplines, both humanistic and scientific, which Wittgenstein's "free" speech enjoys today.

Wittgenstein & Semiotics

From Internationalism to Postcolonialism

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