This work forms Part 2 of Critical Theory After Houellebecq.
(Part 1 elaborates a theory to link the disparate themes.)
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Emphasis is placed on the half-century bisected by 9/11. Planetary and postcolonial in outlook, these writings centre on a nucleus of Anglo-American and West European themes.
The attentive reader may, in a moment of reverie, discern the outermost contours of Critical Theory After Houellebecq. Yet the work will remain somewhat enigmatic until its publication as a single volume. To hasten the revelation of its startling thesis, ctah.net welcomes new investors.
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I do not recall distinctly when it began…
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Perhaps Michel Houellebecq is fading from view—certainly, compared with a decade ago.
The attempt to get to the essence of Houellebecq concerned critics to a significant degree. Some got closer than others. None could quite put a finger on it—something strange, tangled up with the zeitgeist, not to do with the provocations or perhaps even quality of his work.
Critical Theory After Houellebecq solves this riddle, which is also the riddle of the quarter-century since 9/11.
Epiphenomena:
1. Truly reading Houellebecq effects a momentous reassessment of Critical Theory.
2. A correspondingly strange perspective on contemporary history comes into view.
Why the cryptic tone? Critical Theory After Houellebecq disavows obscurantism yet broaches the uncanny in a manner impossible to convey save through the reading of it and for which the author has no explanation. It does not employ concepts of the ‘weird’ and the ‘eerie’; they are, rather, instantiated.
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