My claim is not only that La diáspora has nothing to do with failed cynicism or even with cynicism as such but that it gives us, even if in an imperfect, inconclusive way, as it happens frequently with first novels, the beginnings of a literary endeavor that I would consider the very opposite of a cynical enterprise for contemporary times. And, beyond that, it also gives us a new figure of the Central American writer—one that, by running frontally against all kinds of prejudices held by so-called first-world intellectuals and their clients, may have something important to teach us regarding the function of literary narrative today. Or at least the function of Castellanos Moya´s literary narrative.
What needs to be understood about my distance from those debates around affect polemics is that I still believe in the binary opposition, and am in that sense, I guess, some kind of structuralist Hegelian, or better still, that I include Hegel in Marx and structuralism in the dialectic. “Oppositions without positive terms”: such was Saussure’s great formula, his reinvention of the dialectic on a linguistic basis. Concepts do not exist in isolation, they are defined by their opposites: it is a dialectical lesson as well as a structuralist one, and in the best of worlds the latter should lead back to the former, which it reinvents in a new and contemporary way.
Walter Benn Michael’s “Neoliberal Aesthetics: Fried, Rancière and the Form of the Photograph,” published in our first issue, has generated responses from Michael Clune, Nicholas Brown, and Todd Cronan.