Matthew C. Watson

In AFTERLIVES OF AFFECT, Watson considers the life and work of Mayanist Linda Schele (1942 - 1988) as an entry point to discuss the nature of cultural inquiry and the metaphor of decipherment in anthropology. Watson figures Schele as a trickster guide in his experimental, person-centered ethnography, reanimating the work of decipherment and drawing upon an "affect of discovery" that better expresses the affective engagement of anthropologists and their subject of study. Through her archive, Watson finds an archaeologist wholly animated by her fieldsite and immersed in a more "spiritual science," though nonetheless still imbricated in a system of settler-colonial knowledge production. By holding Schele's work in conversation with both her own interlocutors and prominent voices in the field today, Watson refocuses on anthropologists who are engaged as individuals; carrying their own attachments with them as they describe, interpret, and decipher what they observe, and in doing so, positions affective engagement as a constitutive element in a more reflexive anthropology. The book is organized into six chapters that progress thematically through Schele's life and Watson's autoethnographic reflections on his own research. In Sacrilege (chapter 1), Watson draws together moments throughout his research where he felt his exhumation of Schele's work veered too closely to disturbing what was laid to rest-much like Schele's own work, which relied on the unearthing of sites long laid to rest, reanimating long-dead Mayan rulers and artists. The chapter sets the tone of the work as always toeing the line and risking the introduction of the mystical and affective into scientific interpretation-edgewalking with Schele. In Animals (chapter 2), Watson draws upon metaphors in the animal world, as did Schele when she sought inspiration for her next moment of insight; spider webs present a Geertzian metaphor for webs of signification, while rabbits are trickster guides, a transtemporalizing technology, drawing Schele (and Watson) forward and back through time. Through these reflections, Watson builds iteratively on arguments throughout the book that return to themes more recognizable in contemporary theory conversations: more-than-human worlds, the question of modernity, and the social conditions of knowledge production. This book will be of interest to readers in anthropology, especially those engaged in the ontological turn and more-than-human worlds, as well as the history of anthropology and anthropology theory more broadly. This book will also be of interest to readers in science studies, the posthumanities, and affect theory.

This essay traces the ontological and political limits of Bruno Latour’s conceptualization of the ‘common world’. Latour formulates this concept in explicating how modernist scientific and political institutions require a metaphysical foundation that is anti-democratic in rigidly partitioning nature from society. In the stead of nature/society, Latour proposes a ‘cosmopolitics’ in which we recognize our embroilment in systems comprised of heterogeneous human and nonhuman actors, and seek to innovate appropriate procedures for governing such systems and composing a more peaceful common world. However, feminist and postcolonialist science studies scholars have argued that Latour’s project fails to apprehend the experiences of subjects marginalized by scientific and political structures of representation. Thus, science studies scholars seem to be faced with a problem; to avoid ontological dissonance and contradiction in integrating Latour’s program with feminist and postcolonialist critiques we must defer his claims that the cosmopolitical program entirely supersedes contemporary social movements and oppositional politics. I offer an alternative. Namely, I argue that Latour’s formulations of cosmopolitics’ procedures and the common world’s boundaries actually require an incipient model of the limits of democratic representation. I modify Latour’s proposed system of representation by reading it against Dipesh Chakrabarty’s concept of ‘subaltern pasts’, which are unassimilable to academic historical narratives (in their attribution of agency to nonhuman gods, for example). This reading emphasizes how Latour does not adequately theorize and politicize the partially autonomous reality of those excluded from the common world and thus fails to attend to how this externalization replicates the violence of modernist representational institutions.

Postcolonial science studies entails ostensibly contradictory critical and empirical commitments. Science studies scholars influenced by Bruno Latour and Isabelle Stengers embrace forms of realist, radical empiricism, while postcolonial studies scholars influenced by Jacques Derrida trace the limits of the knowable. This essay takes their common use of the term cosmopolitics as an unexpected point of departure for reconciling Derrida’s program with Stengers’s and Latour’s. I read Derrida’s critique of hospitality and Stengers’s and Latour’s ontological politics as necessary complements for conceiving a care-oriented subalternist cosmopolitics, a process of composing common worlds that remains attentive to the limits of representation.

This article argues that the turn to the animal is a return to mythology. By reading multispecies scholarship as narrativization of contemporary mythology, I claim that the field voices anxieties about human futures through figures of animal others. Multispecies ethnography implicitly grapples with an apocalyptic mythos prevailing in the wake of modernity’s seemingly abandoned dreams. I reconsider the cultural function of multispecies research through two moves. First, I read Thom van Dooren’s Theory, Culture & Society article on ‘Authentic Crows’ as such a quasi-allegorical account. Second, I develop how animal anthropology captures the contemporary mythos in an ‘affirmationist’ register that counters the pessimistic affect of late industrialism. Ultimately, the critical politics of such research may be redeemed through efforts to work closely with scientists and to render explicit the accounts’ situatedness within late-industrial mythology.