The Course Ahead

Bells ring as I seek direction. Some higher calling. Should I be reading my neighbor, author of a work of transgressive literature? I should, thinks the Narrator. “That and some Kathy Acker,” he told himself several weeks ago, “paired with Susan Sontag’s ‘The Literature of Pornography’ and Georges Bataille’s Story of the Eye.” He imagined that with the addition of some Herbert Marcuse and some Norman O. Brown, combined with Monique Wittig’s Les Guérillères and Helen Hester’s Xenofeminism, he’d have arrived at summer. But what time had in store for him was something else again.

A Course on Accelerationism

“I should teach a course on Accelerationism in the years ahead,” thinks the Narrator, mind already in the elsewhere of a desired future.

“Imagine the writers and texts I could assign,” he writes, handing the assignment over to his Unconscious. “Marx. Deleuze and Guattari. Mark Fisher on Acid Communism. Roger Zelazny’s Lord of Light. Sadie Plant. J.G. Ballard. Paul B. Preciado’s Testo Junkie.”

“Manifestos have been central to the movement,” thinks the Narrator, “so we’ll read three: Donna Haraway’s ‘The Cyborg Manifesto,’ the Laboria Cuboniks collective’s The Xenofeminist Manifesto, and Nick Srnicek & Alex Williams’s ‘The Accelerationist Manifesto.’ We’ll also watch and discuss several films, including John Akomfrah’s The Last Angel of History (1996) and Christopher Roth’s Hyperstition (2016).”

“Ideally,” he adds, “as those two films suggest, it would be a course that places Accelerationism in dialogue with Afrofuturism.”