On February 23, Platypus hosted an event entitled Which Way Forward for Palestinian Liberation? in which Joel Kovel, author of Overcoming Zionism and frequent commentator on the Israel-Palestine conflict, and Hussein Ibish, political analyst and senior fellow at The American Task Force on Palestine, answered questions posed by Richard Rubin of Platypus. An audience question and answer session followed. Below is an edited transcript of the event.
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Hal Foster is a prominent critic and art historian who contributes regularly to Artforum, New Left Review, and The Nation. He is also an editor of October. In the fall of 2009, he sent out a questionnaire to 70 critics and curators, asking them what “contemporary” means today. Foster notes that the term “contemporary” is not new, but that “What is new is the sense that, in its very heterogeneity, much present practice seems to float free of historical determination, conceptual definition, and critical judgment.” 35 critics and historians attempted to answer to the problems implied in this observation.
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ONE HAS TO ADMIRE THEIR PERSISTENCE. Labor Notes, the flagship journal of the domestic labor Left, professes itself to be “the voice of union activists who want to put the movement back into the labor movement.” Though stylistically about as riveting as the phonebook, for more than three difficult decades Labor Notes has critically observed and recorded organized labor’s endemic corruption, democratic shortcomings, and gross ineptitude in organizing workers in the private sector, where today only 7.2 percent of Americans are unionized.
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IT IS NO COINCIDENCE that there is a new English translation of Black Skin, White Masks (Peau Noire, Masques Blancs [1952], hereafter BSWM), since in this first book, Frantz Fanon (1925–1961) himself believed that the fight against racism had nowhere found more succor than in the United States. Fanon poetically describes the shorn “curtain of the sky” over the battlefield after the Civil War that first reveals the monumental vision of a white man “hand in hand” with a black man (196).
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THE NEW TRANSLATION AND REPUBLICATION of Theodor Adorno’s Philosophy of New Music is a further clarification of modernism, necessitated by the latest discontents with postmodernism’s vulgarization, which keeps it at a fictitious distance. Perhaps as his remedy for the most fragmented part of the whole of the arts, namely music, translator Robert Hullot-Kentor has in recent years been steadily reintroducing Adorno’s aesthetic philosophy to English readers.
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