The New York Obelisk, Or, How Cleopatra's Needle Came to New by Martina D'Alton

By Martina D'Alton

Frontispiece + seventy two pp., profusely illus., quarto.

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Extra resources for The New York Obelisk, Or, How Cleopatra's Needle Came to New York and What Happened When It Got Here

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American audience. For example, a pop­u­lar post–­World War II guidebook for New York City reflected and reinforced the troubling viewpoints thusly: “Puerto Ricans ­were not born to be New Yorkers. ”7 Faced with what Frantz Fanon called a “crushing objecthood,”8 Puerto Ricans ­were reduced in the pop­u­lar imaginary and official histories to a caricature, a shell devoid of humanity, an image that was more a reflection of the attitudes of the colonizer than of the p ­ eople themselves. Given a history of consciousness regarding Puerto Ricans that was, at least at the time, thoroughly racist and colonialist, how ought we to proceed?

63 As such, “discourse” should not restrict our critical optics to the verbal domain; rather, a host of material practices beyond the word can and should be interrogated as discursive and (when situated and public) rhetorical acts. 64 Practically speaking, this means that I understand speeches, newspaper articles, artwork, embodied per­for­ mances, theatricality, photography, and more to constitute the material discursive practices of the Young Lords; and when those discourses are engaged in their situated public contexts, we are in the realm of rhe­toric.

While for them (and Amin), delinking is rooted in a socialist po­liti­cal and rhetorical accent, such is not the case for myself and ­others writing on de/coloniality. That said, I think Greene and Kuswa’s formulation is helpful because we both deal with the ways in which competing discursive, epistemic, economic, and po­liti­cal frameworks intersect to accent and re-­ accent literal and meta­phorical places. Decolonial scholars, for example, are incredibly interested in the ways in which knowledge emerges from par­tic­u­lar places and circulates.

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