Recent work on crime fiction has highlighted the genre’s increasingly transnational focus and the growing number of migrant detectives. Matsotsi, a little-known Nyanja text published in Zambia in the early 1960s, provides a much earlier example of this figure in Sergeant Balala, an Angolan detective fighting to contain the tsotsi menace in Johannesburg, South Africa. Matsotsi, however, does more than point to cross-border detection as a means of elucidating transnational relationships. Shonga and Zulu’s text manipulates the genres of the detective novel and the bildungsroman to tell a story about the relationships among the individual, the state, and the wider region at a key moment in southern African history, when Zambia and Malawi were on the cusp of independence. Although African language writing has often been considered too localized to be used for nationalist purposes, here it is mobilized for the purpose of state-making in a transnational context.

J. M. Coetzee’s late work exhibits a productive dialogue between fiction and other arts as part of his interest in the possibilities of thinking in mediums other than ordinary language. Focusing particularly on the Jesus novels, this article examines the critical role of music and how Coetzee uses musical forms as literary strategies that open up alternative possibilities of communication and thinking. Revisiting the famous “What is a Classic?” essay and the biographical moment that leads Coetzee to the music of J. S. Bach, I look at how Coetzee writes musically by considering questions of content, form, and technique, and then turn to the representation of music in relation to mathematics. I propose that the interest in music in the Jesus novels is part of his conscious engagement with ordinary language and his inherent desire to transcend it that characterizes the late work.

Rereading Toni Morrison’s novel Beloved, this article explores how Morrison’s work at the limits of language performs the haunting ties between the Reconstruction era and the present day by offering readers a way to experience a rememory of their own. By repeatedly emphasizing the inadequacy of language in expressing traumatic experience, Beloved encourages its readers to, like its characters, look beyond language and seek out a kind of ineffable, embodied knowledge to better understand the lingering traumas of slavery. Through Morrison’s concept of “invisible ink,” which points to the inevitability that lived experience cannot be captured in language by the author alone but must be filled in by an active reader, this article makes a larger argument: that Beloved acts as both an invitation and a guide to read the ghostly, invisible ink of history that exists outside the novel, haunting our world itself.

This article situates psychoanalysis, urbanity, and precarity apropos of the material, affective, and memory economy of the mutable metropolis marked by visuality, velocity, and violence. Responding to Ankhi Mukherjee’s Unseen City: The Psychic Lives of the Urban Poor, the article examines the interplay of visibility and invisibility in a metropolis and how that is in close and complex correspondence to the politics of precarity and privilege. Drawing on historical as well as recent research in psychology, psychoanalysis, cognitive theory, and cultural studies across various geopolitical settings, this article, through a response to and reading of Mukherjee’s book, aims to articulate and illustrate the unique relevance of literature and aesthetic education in a study of mental health conditions in the (un)seen city. It argues that such psychic and social situations may be uniquely encoded and addressed with ethics and empathy through the cognitive interiority and symbolic instrumentality afforded by the affective and liminal framework of aesthetic activity and fiction.

The colonial reason at the heart of psychoanalysis is increasingly acknowledged, but literature scholars still work with it as an instrument for decolonizing. This essay examines thepossibilities of postcolonial literature itself as a source of epistemological intervention into psychoanalysis.

This essay is a response to four peer reviews of Unseen City, touching on the key ideas showcased in each: the move in community psychoanalysis from an authoritative scripting of the cure to elaborations of care; the role of the public clinic in the global city; the post colonial uncanny; the contribution of literature to the psy-disciplines.

This essay responds to Timothy Brennan’s recent biography of Edward Said by delving into Said’s relation to Frantz Fanon, who became an important influence in the second half of his career. Particularly, it considers whether Said’s readings and misreadings of Fanon signal a wider break with the latter’s notion of the “colonized intellectual.” Said, it emerges is more an “imperialized” intellectual, whose post-nationalist anti-imperialism is an attempt to sustain the Marxist anticolonial legacy in an era of neo-imperial consolidation. The article also considers how Said’s anti-imperialism is shaped by the idiosyncrasies and unique challenges of the Palestinian anti-colonial struggle.

Edward Said’s life’s work illustrated the very argument for individual agency that became a theoretical focus for him beginning with his classic 1978 study, Orientalism.

This article brings to the forefront Timothy Brennan’s emphasis on Edward Said’s engagement with philosophy. An attempt is made to reconstruct some of Brennan’s claims about Said’s views on the relationship between mental representations and the external world. It is shown that Said rejected naïve or direct realism in favor of representationalism. It is also argued that, despite being seen as a post-modern thinker, Said subscribed to a version of the correspondence theory of truth. Said embraced some form of standpoint epistemology, but he did not think that this had any direct bearing on how we should think about what makes a given claim true. Finally, an attempt is made to understand the relationship between Said’s project and the classical Marxist project of ideology critique, as well as contemporary attempts to develop an epistemology of ignorance.