Rafe McGregor

Frantz Fanon, Psychiatry and Politics affords a much-needed and long-awaited addition to the literature on Frantz Fanon, an exhaustive study of the least-known aspect of his short but remarkable life, his psychiatric practice and publications. The monograph is co-authored by Nigel C. Gibson and Roberto Beneduce, with a foreword by Alice Cherki and translations by Lisa Damon. Gibson is a leading Fanon scholar, jointly responsible for the appropriation of Fanon’s oeuvre by postcolonial studies in the nineteen nineties, and Beneduce is the founding director of Il Frantz Fanon Centro, a counselling and psychotherapy centre for immigrants, refugees, and victims of torture in Turin. Cherki is one of Fanon’s few surviving colleagues and the publication reunites the team that worked on Decolonizing Madness: The Psychiatric Writings of Frantz Fanon, the first translation of Fanon’s collected psychiatric publications into English. Decolonizing Madness was scheduled for release by Palgrave Macmillan in 2014, but is now due in 2019 and Gibson and Beneduce make a somewhat cryptic allusion to production problems in their introduction, stating: ‘We were naïve, as Fanon would have put it, to think that there would be no other interests at play’ (p.22).

To Protect and Serve is Norm Stamper’s second book, following Breaking Rank: A Top Cop’s Exposé of the Dark Side of American Policing (2005), and is a welcome contribution to the debate between those who advocate violence against the police and those who insist that no reform is necessary. Radley Balko’s The Rise of the Warrior Cop: The Militarization of America’s Police Forces (2013) inadvertently provided the context of the civil unrest in Ferguson ignited by the shooting of Michael Brown in 2014 and the controversy surrounding the “Ferguson effect” provides the context for Stamper’s treatise on the problems faced – and caused – by contemporary U.S. law enforcement. Stamper is one of the few senior police officers singled out for praise by Balko, for the most part on the basis of his activism against police prejudice and militarisation subsequent to his retirement as Seattle’s police chief in 2000.

Towards the end of the twentieth century, the issue of collaboration with the Third Reich became particularly problematic for deconstructive criticism. The distinction between collaboration and cooperation is often far from clear, however, and in borderline cases the opacity of the motives behind the alleged collaboration may be such that retrospective historical judgements run the risk of appearing arbitrary. In contrast, the decision to remain silent about alleged collaboration can – and should – invite negative moral judgement. On the one hand silence offers evidence of deceit; on the other, silence speaks of an absence of regret or remorse; and in the case with which this paper is primarily concerned, silence is indicative of both deceit and remorselessness.

Standing at the intersection of criminology and philosophy, this book demonstrates the ways in which mythic movies and television series can provide an understanding of actual crimes and social harms. Taking three social problems as its subjects – capitalist political economy, structural injustice, and racism – the book explores the ways in which David Fincher’s Fight Club (1999), HBO’s Game of Thrones (2011–2019), and Jordan Peele’s Us (2019) offer solutions by reconceiving justice in terms of personal and collective transformation, utopian thinking, and the relationship between racism and elitism, respectively. In doing so, the authors set out a theory of understanding the world based on cinematic and televisual works of art and conclude with a template that establishes a methodology for future use. An Epistemology of Criminological Cinema is authoritative and accessible, ideal reading for undergraduate and postgraduate students, criminologists, philosophers, and film, television, and literary critics with an interest in social justice and social harm.

Tzachi Zamir is Professor of English and General & Comparative Literature at the Hebrew University of Jerusalem, where he directs the Amirim Interdisciplinary Honors Programme in the Humanities. Just Literature: Philosophical Criticism and Justice is his fifth book, continuing the exploration of the relationship between philosophy and literature begun in Double Vision: Moral Philosophy and Shakespearean Drama (2007) and developed in Ascent: Philosophy and Paradise Lost (2017). Aside from his complex and innovative work in this field, he is best-known for establishing the first systematic philosophical aesthetics of the art form of acting in Acts: Theater, Philosophy, and the Performing Self (2014). Just Literature is part of Routledge’s New Literary Theory series, published in the Routledge Focus format. Routledge Focus, like Palgrave Pivot and Emerald Points, is a fairly recent development in academic publishing, featuring short monographs whose publication is expedited in order to be able to provide commentary on or analysis of current events or topical issues. I am not sure about the value of the expedition for academic work, but I am in favour of the format, which is about half the length of a standard monograph and encourages clear, concise, and focused writing. Zamir introduces his unique approach to the overlap of literary studies and philosophy as being a response to the codependence of the aesthetic and epistemic values of literature, expressed in the following three claims: (1) exemplary literature enables insights by means of experiential pathways; (2) aesthetic value and epistemic or cognitive value are often interlinked; and (3) criticism becomes philosophical when it bridges the gap between emotion and insight. The purpose of Just Literature is twofold, to introduce philosophical criticism and to employ philosophical criticism to achieve a better understanding of the concept of justice. The monograph consists of an introduction, five chapters divided into two parts, a coda, and an appendix. The parts are divided by theory and practice, with the first sketching philosophical criticism in more detail than the introduction (Chapter 1) and introducing justice as a concept (Chapter 2). Part II applies this theory to practice, extrapolating the relationships between justice on the one hand and attachment (Chapter 3), pity (Chapter 4), and mercy (Chapter 5) on the other. The coda presents a pithy and memorable conclusion by means of a personal anecdote, recalling the author’s use of the same device in his second monograph, Ethics and the Beast: A Speciesist Argument for Animal Liberation (2007).

Abstract:The purpose of this introduction is to set out the scope and content of this special issue of the Journal of Aesthetic Education, which takes Aesthetic Education through Narrative Art as its subject. I begin by delineating the “aesthetic” itself and then identifying the denotation of “aesthetic education” with which the issue’s authors are concerned. This is followed by a characterization of “narrative art” that belies my preference for representation rather than art and draws attention to the multiple modes of representation that constitute complex narratives. I next turn to the title of the special issue, an abridged version of Aesthetic Education through Narrative Art and its Relevance for the Humanities, which is an installation research project funded by the Croatian Science Foundation to investigate the relationship between aesthetic and artistic values on the one hand and ethical, political, and social values on the other. The project is multidisciplinary among philosophy, criminology, film studies, and cognitive science, and three of the authors are members of the project team. I conclude by introducing each of the six articles, which employ two approaches, one from philosophical aesthetics and the other from critical criminology.

Literary Theory and Criminology demonstrates the significance of contemporary literary theory to the discipline of criminology, particularly to those criminologists who are primarily concerned with questions of power, inequality, and harm. Drawing on innovations in philosophical, narrative, cultural, and pulp criminology, it sets out a deconstructive framework as part of a critical criminological critique-praxis. This book comprises eight essays – on globalisation, criminological fiction, poststructuralism, patriarchal political economy, racial capitalism, anthropocidal ecocide, critical theory, and critical praxis – that argue for the value of contemporary literary theory to a critical criminology concerned with the construction of a just and sustainable reality in the face of climate change and other mass harms. This is the first criminology book to engage with literary theory from the perspective of criminology and provides a guide for criminologists who want to deploy literary theory as part of their research programmes. It supersedes existing engagements with poststructuralism in the philosophical criminological tradition because it entails neither a constructionist ontology nor a relativist epistemology. It shows criminologists how literary theory offers the tools to first deconstruct and then reconstruct meaning and value. Literary Theory and Criminology is essential reading for all critical criminological theorists.

Abstract:Frantz Fanon is best known as the author of two monographs: Black Skin, White Masks (1952), a literary and psychological account of Black experience and anti-Black racism, and The Wretched of the Earth (1961), a political manifesto arguing for the need to respond to colonial oppression with revolutionary violence. His critics contend that the disciplinary division evinces a failure to successfully integrate the psychological with the political, which detracts from his intellectual legacy. In this article, I employ criminologist Jon Frauley’s theory of the analytic value of fictional film to demonstrate that Denis Villeneuve’s Blade Runner 2049 (2017) not only provides an empirical referent for Fanon’s psychological and political theories but also reveals an underlying coherence that is not always obvious. I begin with a summary of Frauley’s theory and then alternate between Fanon’s theories and the way in which the film provides those theories with empirical referents. My conclusion, which highlights an essential continuity between individual transcendence and collective action in Fanon, draws on both Blade Runner 2049 and the military tactic of pseudo operations, which was employed to devastating effect against anti-colonial struggles in Africa in the second half of the twentieth century.

This article demonstrates the literary value of hardboiled detective fiction. I consider two different arguments for literary value, one based on Martin Heidegger's philosophy of art and the other on the tradition of form-content inseparability in literary aesthetics and literary criticism. The former is reliant on the genre's combination of formal complexity with substantive superficiality and the latter on the combination of formal complexity with substantive complexity. I employ Raymond Chandler's The Big Sleep (1939) and Nelson DeMille's Plum Island (1997) as examples, focusing on the question of whether they have thematic content. I demonstrate that the novels instantiate substantive themes—about corruption, alienation, and moral amnesia—in consequence of which the argument for form-content inseparability is more compelling. I conclude by suggesting that form-content inseparability underpins both the literary value of hardboiled detective fiction and the genre's capacity for aesthetic education.

Patrick Fessenbecker is Assistant Professor in Cultures, Civilizations, and Ideas at Bilkent University in Ankara. Reading Ideas in Victorian Literature is his first monograph and constitutes a substantial development of the argument he introduced in ‘In Defense of Paraphrase’, the essay that won New Literary History’s Ralph W. Cohen Prize in 2013. The purpose of the book is twofold: to problematize the formalist approach that has achieved hegemony in contemporary literary studies and to offer an alternative way of approaching literary theory and literary criticism, which can be conceived as ‘content formalism’ (p. 29). Fessenbecker provides a humorous but nonetheless accurate summary of his aim as defending the ‘meaning-mongers’ (Joshua Landy’s term) from the ‘form-fetishists’ (p. 17) in order to promote the marginalized tradition of ‘thoughtful reading’ (p. 18). The monograph consists of six chapters bookended by a long introduction and a short epilogue and although it is not divided into parts, two chapters each are devoted to a particular problem with the formalist hegemony in literary studies. The problems are framed in terms of three assumptions that the discipline takes for granted, presented as: form is what makes literature distinctive; the history relevant to literary criticism is the history of form; and aesthetic experience is a property of form. Fessenbecker addresses each of these assumptions by first providing a literary theoretical argument that promotes an alternative approach (Chapters 1, 3, and 5) and then exemplifying that approach by literary critical practice on the novels of Anthony Trollope (Chapter 2) and George Eliot (Chapter 4) and the poetry of Robert Browning and Augusta Webster (Chapter 6).

Early modern conceptions of aesthetic education propose a necessary relation between aesthetic and moral values such that the appreciation of beauty is a necessary condition for the attainment of virtue. Contemporary conceptions retain the causal connection, claiming that the appreciation of literature in particular produces more responsive readers such that the aesthetic merits of novels are moral merits. J. M. Coetzee agrees that there is a relation between the two spheres of value but maintains that the novelist seeking to represent the secret policeman in a society that condones torture is faced with a dilemma: he or she must either portray the torturer by means of cliché and fail aesthetically or...

The purpose of this paper is twofold: to argue for the value of (1) social science as part of the intellectual activity of writing (rather than righting) and (2) the practice of fiction to that intellectual activity. Writing is a mode of representation that eludes our complete and objective knowledge and always remains partial and temporary. While righting, in contrast, is concerned with the absolute truth and the revelation of the right answer. This paper argues that writing is a more productive, creative, and necessary way of engaging with reality than righting, and that it can offer insights and perspectives for both theory and praxis. Drawing on Stephen King’s view on writing fi ction, this paper will also argue that fiction constitutes a kind of writing and employs a particular form of truth that is conceived as a relation between representation and reality. The paper will conclude by suggesting the need for criminologists— and social scientists more generally—to adopt the perspective of writing to gain a better understanding of the phenomena with which they are concerned.

The purpose of this paper is to demonstrate that the experience of a literary narrative qua literary narrative is an experience of narrative thickness, i.e. an experience in which narrative form and narrative content are inseparable. I explain my thesis of poetic thickness in §1, showing why it does not admit of extension from poetry to literary narratives. §§2-3 synthesise the work of Derek Attridge and Peter Lamarque, advancing narrative thickness as a necessary condition of literary narratives. I propose a work of didactic literature – J.M. Coetzee’s “The Lives of Animals” – as a paradigmatic counter-example to narrative thickness in §4. I show, in §5, that narrative thickness holds for this work in particular and didactic works which are literary in general, concluding that narrative thickness is indeed a necessary condition of literary narratives.

Criminology has been reluctant to embrace fictional narratives as a tool for understanding, explaining and reducing crime and social harm. In this philosophical enquiry, McGregor uses examples from films, television, novels and graphic novels to demonstrate the extensive criminological potential of fiction around the world. Building on previous studies of non-fiction narratives, the book is the first to explore the ways criminological fiction provides knowledge of the causes of crime and social harm. For academics, practitioners and students, this is an engaging and thought-provoking critical analysis that establishes a bold new theory of criminological fiction.

There is increasing pressure on the humanities to justify their value and on criminology to undertake interdisciplinary research. In this book, Rafe McGregor establishes a new interdisciplinary methodology, ‘criminological criticism’, harnessing the synergy between literary studies and critical criminology to produce genuine interventions in social reality. McGregor practices criminological criticism on George Miller’s ‘Mad Max: Fury Road’, Prime Video’s ‘Carnival Row’ and J.K. Rowling’s ‘The Cuckoo’s Calling’, demonstrating how these popular allegories provide insights into the harms of sexism, racism and class prejudice. This book proposes a model for collaboration between literary studies and critical criminology that is beneficial to the humanities, the social sciences and society.