Fetishism has become such a key concept within Western thought, largely as a result of the work of Karl Marx and Sigmund Freud, that it is easy to forget its origins. But the notion of fetishism originates in a very different context, and in many ways, an incommensurable system of thought—animism. Returning to this submerged backstory, I deploy the concept of the fetish to confront the recent enthusiasm for materiality that has emerged in response to current environmental crises. New materialism considers matter to have a liveliness not dependent on human subjects. This paper considers what divides “vital materialism” from the “animist materialism” that continues to structure everyday experience in a range of contexts in Africa and elsewhere and investigates the way in which fetishism, within the intellectual tradition of animism, alerts us to the strange ephemeralness of the avowed materialism of the new materialist project.

At the center of Joseph Slaughter’s important address is the question of inclusion. It appears in the phrase “inclusive comparison.” The remark he makes in a footnote about “non-privileged (generally minor and/or minority) commentators in the world of letters who compared literature from marginal places to the literature from Europe” is particularly interesting as it speaks of pioneers of sort who dared to take seriously the “exhortation to compare” beyond established and conventional borders and bring into the literary conversation other literatures. I would like to develop a few reflections inspired to me by the notion of “inclusive comparison” by examining first the very concept of “comparison” and by considering the lessons to be drawn from the works of a couple of pioneers of “inclusive comparison” bringing in African literature: Abbé Grégoire and Blaise Cendrars.

In this introduction to the special issue, “Animating Theories of the Material: Approaching Animist Being in Postcolonial Literatures,” Rosemary Jolly and Alexander Fyfe consider the recent surge of interest in animisms within postcolonial studies alongside the roughly coeval turn to questions of materiality within the humanities. Introducing the five essays in the issue, they raise questions around the potential limitations of various forms of materialism, both “new” and “old,” and highlight possible ways in which postcolonial scholars might responsibly attend to animist modes of thought. They argue for the political importance and the ethical necessity of an approach to animisms that does not reduce them to a “theory” of the material, yet at the same time bears witness to the full range of materialities that obtain within such worldviews.

This essay begins by asking whether the new materialism, as currently constituted, can say anything useful about race, given that the most widely read texts recognized as belonging to this emerging field pointedly do not. Put another way, this essay examines possibilities for the reading of the raced enfleshed human subject in and beyond the parameters of the new materialism. The essay’s first section locates the raced enfleshed subject as latent (if not actively suppressed) entity in existing new materialist work. The latter half turns to questions of possibility, especially the question of whether a much older, precluded, or occluded voice is already “speaking through” the so-called materialist turn, challenging it as a way of contesting its own (attempted, failed) erasure from the metaphysical founding scene of the liberal humanist subject that informs the material turn.

This article examines Indigenous stories that reveal how the land communicates to humans through medicinal plants. The intention is to address a blind spot in new materialist theory, which Zoe Todd has criticized for its lack of attention to Indigenous forms and practices of relational materialism. The main focus of this essay is Indigenous narratives about the sacred plant sweetgrass (known as (wihkaskwa in Cree; wiingaashk in Anishinaabemowin). Reading Robin Wall Kimmerer’s meditation Braiding Sweetgrass and Drew Hayden Taylor’s novel Motorcycles and Sweetgrass, and watching Jessie Short’s 2016 film Sweet Night, I argue that these artists portray sweetgrass as an intermediary between humans and the land, strengthening Indigenous cultural sovereignty and deepening human relationships by reminding people of their shared embodiment and their shared spiritual-territorial connection. The plant is revealed in these works as a teacher, operating through its scent, texture, and literal rootedness to teach humans about their own connectedness to particular living places.

By working at the level of sensation rather than linguistic signification, the sweetgrass is also shown to have an immediate and embodied effect upon the characters in these works. In particular, it offers itself as a gift, and as a conduit of love. I argue that the repeated image of the sweetgrass braid in these works is not exactly a metaphor, but is instead a profound conjoining of the earth and the human body, both submitted to the care of human hands. To braid the earth’s fragrant hair is to treat it in the most intimate way, as a family member or a beloved. It is this human activity of braiding that clarifies the kinship aspect of sweetgrass, showing us that it is not a thing, but a relation. The reciprocity of this relationship shows an Indigenous ethic of engagement with the living material world.

OV/VO variation in the history of English has been a long-debated issue. Where earlier approaches were concerned with the grammatical status of the variation (see van Kemenade 1987; Pintzuk 1999 and many others), the debate has shifted more recently to explaining the variation from a pragmatic perspective (see Bech 2001; Taylor & Pintzuk 2012a), focusing on the given-before-new hypothesis (Gundel 1988) and its consequences for OV/VO. While the work by Taylor & Pintzuk (2012a) focuses specifically on the newness of VO orders, the present study is particularly concerned with the givenness of OV word order. It is hypothesized that OV orders are the result of leftward movement from VO orders, triggered by givenness. A corpus study on a database of subclauses with two verbs and a direct object, collected from the YCOE (Taylor et al.2003) corpus, and subsequent multinomial regression analysis within a generalized linear mixed model shows that OV word order is reserved for given objects, while VO objects are much more mixed in terms of information structure. We argue that these results are more in line with an analysis which derives all occurring word orders from a VO base than an analysis which proposes the opposite.

This essay studies the Granada Trilogy by Egyptian writer Radwa Ashour, a novel that tells of the growing constraints on and eventual expulsion of the Arabs during the Spanish Inquisition across five generations of an Andalusian family. In linking this story to that of the Palestinians in the twentieth century and beyond, Ashour ascertains a logic of modernity in which the longue durée governs the experience of time’s passage, and peoples disconnected by long intervals of chronological time bear an intimate affinity by virtue of their common subjugation. Far from being merely a reflection of her despondency over the inability to change this historical dynamic, the Granada Trilogy suggests that the hopefulness animating these refugees is a revolutionary resource with which to apprise present actors of the multiple possible futures that remain alive in the present.

Petroleum, a 2004 novel by Swiss-Gabonese writer Bessora, takes place almost entirely on the Ocean Liberator, a ship extracting oil off the coast of Gabon. I argue that the Ocean Liberator operates as what Marc Augé calls a non-place, a place that cannot be defined in terms of history, identity, or relations. Non-places, frequently under neither national nor international supervision, facilitate the creation of a precarious international labor force. I furthermore underline the relation among the non-place workplace, environmental degradation, and the choice of detective fiction. Petroleum is what I call a supermodern detective novel, which moves beyond local violence to deal with transnational networks of capitalist power and oppression.

How can a state react to being a target of disinformation activities by another state without losing the moral ground that it seeks to protect? This essay argues that the concept of moral authority offers an original framework for addressing this dilemma. As a power resource, moral authority enables an actor to have its arguments treated with priority by others and to build support for its actions, but only as long as its behavior does not deviate from certain moral expectations. To develop moral authority, an actor engaged in combating digital propaganda must cultivate six normative attributes: truthfulness and prudence for demonstrating the nature of the harmful effects of disinformation; accountability, integrity, and effectiveness for establishing the normative standing of the actor to engage in counter-intervention; and responsibility for confirming the proportionality of the response.

This article investigates patterns of variation in the phonetic shape of High Rising Terminal (HRT) intonation contours on declarative utterances in London English. Previous research has demonstrated that there are two pragmatically distinct meanings for HRTs in London, distributed across different groups of users and conversational contexts. Based on current theories of intonational meaning, we would expect this pragmatic differentiation to correlate with differences in tune shape, given the assumption that there is a one-to-one correspondence between a contour’s meaning and its phonological form. Following the example of prior studies of HRTs in other locations, analyses focus on three phonetic properties: rise excursion size, rise dynamism, and the alignment of the rise onset with the nuclear syllable. Unlike much previous research elsewhere, mixed-model regression analyses demonstrate that pragmatic differences in how HRTs are used in London do not correlate with differences in the phonetic characteristics under investigation. The discussion focuses on how to reconcile this result with theories of intonational meaning, arguing that the findings for London may be due to the relatively recent arrival of HRTs in the variety, and, as a result, the lack of a differentiated field of form–meaning correspondences for the contour in the region.

How should the international community respond when states commit atrocity crimes against sections of their own population? In practice, international responses are rarely timely or decisive. To make matters worse, half-hearted or self-interested interventions can prolong crises and contribute to the growing toll of casualties. Recognizing these brutal realities, it is tempting to adopt the fatalist view that the best that can be done is to minimize harm by letting the state win, allowing the status quo power structure to persist. Indeed, this is how many commentators and states have responded to the tide of human misery in Syria. Could a policy of letting the state perpetrator prevail be a viable alternative to other options, including military intervention? This essay suggests not. It explains the logic behind the fatalist approach and shows that problems of recurrence, precedence, and rights mean that such an approach cannot offer a plausible alternative to measures designed to resist and increase the costs of committing atrocity crimes.