re.press, an open access publishing house in Australia recently published an interesting looking new book by Toula Nicolacopoulos, The Radical Critique of Liberalism: In Memory of a Vision. Here’s the blurb:
Despite political theorists’ repeated attempts to demonstrate their incoherence liberal values appear to have withstood the test of time. Indeed, engagement with them has become the meeting point of the different political philosophical traditions. But should radical critique justifiably become a thing of the past? Should political philosophy now be conducted in the light of the triumph of liberalism? These are the wider questions that the book takes up in an attempt to demonstrate the intellectual power of systemic critique in the tradition of Hegel. The author argues that the most ambitious of the communitarian critiques of liberal thought failed due to a fundamental weakness of their philosophical methodology. Moreover, the re-workings of these critiques by feminists, discourse ethicists, postmodern and postcolonial theorists have been equally unsuccessful because they have not traced the individualist commitment of liberal theory back to its source in liberal inquiring practices. Working through the theories of prominent liberal theorists, including John Rawls, Jeremy Waldron, Charles Larmore and Will Kymlicka, the book demonstrates that an adequate appreciation of the deep structural flaws of liberal theory presupposes the application of a critical philosophical methodology that has the power to reveal the systemic interconnections within and between the varieties of liberal inquiring practices.
You can buy it for 25US dollars (which would certainly help them continue to make the good work they publish available) or download a pdf for free here. In addition, I’m particularly interested in another soon to be released book from re.press by Reza Negarestani called Cyclonopedia.
Here’s the blurb from re.press:
Cyclonopedia is theoretical-fiction novel by Iranian philosopher and writer Reza Negarestani. Hailed by novelists, philosophers and cinematographers, Negarestani’s work is the first horror and science fiction book coming from and written on the Middle East.
‘The Middle East is a sentient entity—it is alive!’ concludes renegade Iranian archaeologist Dr. Hamid Parsani, before disappearing under mysterious circumstances. The disordered notes he leaves behind testify to an increasingly deranged preoccupation with oil as the ‘lubricant’ of historical and political narratives. A young American woman arrives in Istanbul to meet a pseudonymous online acquaintance who never arrives. Discovering a strange manuscript in her hotel room, she follows up its cryptic clues only to discover more plot-holes, and begins to wonder whether her friend was a fictional quantity all along. Meanwhile, as the War on Terror escalates, the US is dragged into an asymmetrical engagement with occultures whose principles are ancient, obscure, and saturated in oil. It is as if war itself is feeding upon the warmachines, leveling cities into the desert, seducing the aggressors into the dark heart of oil … At once a horror fiction, a work of speculative theology, an atlas of demonology, a political samizdat and a philosophic grimoire, CYCLONOPEDIA is work of theory-fiction on the Middle East, where horror is restlessly heaped upon horror. Reza Negarestani bridges the appalling vistas of contemporary world politics and the War on Terror with the archeologies of the Middle East and the natural history of the Earth itself. CYCLONOPEDIA is a middle-eastern Odyssey, populated by archaeologists, jihadis, oil smugglers, Delta Force officers, heresiarchs, corpses of ancient gods and other puppets. The journey to the Underworld begins with petroleum basins and the rotting Sun, continuing along the tentacled pipelines of oil, and at last unfolding in the desert, where monotheism meets the Earth’s tarry dreams of insurrection against the Sun.
My favorite blurb from the reviewers is this one by Graham Harman, who suggests: ‘Reading Negarestani is like being converted to Islam by Salvador Dali.’