Now Available

NEW FROM ROUTLEDGE 2026

'Capital' as Literature: Marx Against Himself



’CAPITAL’ AS LITERATURE: MARX AGAINST HIMSELF



Studies of Marx, particularly of his masterwork Capital (1867), are as a rule tutelary—they attempt to explain him. Even literary readers of Marx, from Raymond Williams to Fredric Jameson, seek to secure Marxist tenets by means of Marxian style. ‘Capital’ as Literature: Marx Against Himself departs from this tradition by reading Capital as literary in its own right rather than as political economy with style as its filigree rather than its focus. Here, Marx emerges in a different light. If literature is writing that calls whatever is settled into question, then Marx's writing is literature, not because of its revolutionary program, but because Marx's rhetoric, particularly its key trope of chiasmus, undoes the coherence of the notions it propounds, especially in Capital. Marx's chiasmatic style turns Capital into a mise en abyme and Marx's enterprise into an example of what it describes rather than its foil or antidote: the structure of capital itself. Capital, like capital, is a self-begetting production machine whose fungibility as a form is one and the same with the money economy it unravels. ‘Capital’ as Literature: Marx Against Himself shows how this irony unfolds and what the implications are for epistemology, cultural studies, and literary criticism.




ALSO FROM ROUTLEDGE 2022

Criticism After Theory from Shakespeare to Virginia Woolf



CRITICISM AFTER THEORY FROM SHAKESPEARE TO VIRIGINIA WOOLF

The argument of this book is a simple one: that criticism after theory is a single movement of thought defined by synthesis and continuity rather than by conflict and change. The most influential figures in criticism since Saussure—Bakhtin, Derrida, and Foucault—are wholly consistent with Saussure's foundational Course in General Linguistics (1916) no matter the traditions of complaint that have followed in Saussure's wake from Bakhtin forward. These complaints vitiate—despite themselves and often hilariously so—the misconceptions that have made cottage industries out of quarrels with Saussurean semiology that are based on notions of Saussure that are incorrect. The materialist criticism dominant today is actually dependent upon on the legacy of a presumably formalist structuralism rather than a step beyond it. New Historicism, postcolonialism, gender studies, environmental criticism, archive studies, even shared and surface reading are, like deconstruction, the by-products of Saussure's structuralism, not its foils. Saussure's sign is sensory and concrete. Language and materiality are not distinct but one and the same—history, society, the psychological subject, even the environment are systems of signs, material archives read and reread by futures that produce the past after the fact. Without Saussure, contemporary criticism would have no identifiable or effective source. The book begins with chapters on Saussure and Derrida, Bakhtin and Shakespeare, and Freud and Foucault followed by chapters on Victorian and American fiction, D.H. Lawrence and modern poetry, Virginia Woolf and Melanie Klein, and the historicist tropology of psychoanalysis. It concludes with a coda in life writing on the author's epileptic disability.




Portuguese translation of THE MYTH OF POPULAR CULTURE (Blackwell Manifestos, 2010) now available from Tinta Negra (Rio de Janeiro, 2015)



OS MITOS DA CULTURA POP: DE DANTE A DYLAN


O renomado crítico cultural americano Perry Meisel detona as noções convencionais sobre a divisão entre “alta” e “baixa” cultura.

O autor transita pela provocante teoria de que a cultura pop experimentou ritmos dialéticos. A hábil análise que o livro apresenta de três tradições culturais duradouras – o romance norte-americano, Hollywood, e o rock inglês e americano – nos leva a um ciclo histórico da cultura pop que tem Dante como ponto de partida e revisita ícones como Wahrol, Melville, Hemingway, Twain, Eisenstein, Benjamin, Scorsese e Sinatra.




THE MYTH OF POPULAR CULTURE: FROM DANTE TO DYLAN


The Myth of Popular Culture discusses the dialectic of "highbrow" and "lowbrow" in popular culture through an examination of literature, film, and popular music. With topics ranging from John Keats to John Ford, the book responds to Adorno's theory that popular culture is not dialectical by showing that it is.

Available as eBooks

COURSE IN GENERAL LINGUISTICS. Trans. Wade Baskin. Co-ed. with Haun Saussy. By Ferdinand de Saussure (Columbia University Press, 2011)

THE MYTH OF POPULAR CULTURE: FROM DANTE TO DYLAN
(
Blackwell Manifestos, 2010)

THE LITERARY FREUD (Routledge, 2007)

THE COWBOY AND THE DANDY: CROSSING OVER FROM ROMANTICISM TO ROCK AND ROLL (Oxford University Press, 1998)

FREUD: A COLLECTION OF CRITICAL ESSAYS (Prentice-Hall, 1981)




11/23/10

Emilio's Is Dead, Long Live Emilio's!

by Walter Kendrick and Perry Meisel

They said it many different ways: "This place isn't supposed to close." "This is the worst thing that's happened to the Village since the fire at the Eighth Street Book Store." "If Emilio's closes, anything can happen." They were, of course, the usual crowd - actors, musicians, grocers, professors, black, white, old, young, gay, straight, and all the stages in between. They laughed, they cried, they loaded their plates with eggplant parmigiana, meatballs, ziti, and, for no apparent reason, fried chicken. They drank as if there were no tomorrow. And there wasn't.
Emilio's restaurant, a Sixth Avenue institution for 32 years, was shutting down for good. Sunday evening, several hundred of its regular patrons gathered to say farewell at a party that resembled a cross between an Irish wake an Italian wedding. Gil Rainero, son of the original Emilio, was retiring, and he threw a bash to say thanks. The timeless waitresses bravely served their last suppers: Maria (28 years on duty), Carol (22), Paula (16); even the new arrivals, Tricia (two years) and Mary Lou (just one), deftly hugged old friends with one arm and dished out lasagna with the other.
Manager Gus Theodoro, Gil's impromptu press secretary, waxed eloquent: "Emilio's was a true melting pot; it was what the country should be. Other places are Irish bars, Italian bars, actors' bars, sports bars, gay bars, Jersey bars - Emilio's was all of these. People are here tonight to get a last little taste and touch of that human family that used to belong to them part-time." On an average Saturday night, he said, Emilio's was home to 750 diners, 75 people who came in to use the bathroom, 40 for the phone, and 25 purse-snatchers. "A real microcosm," he said.
The bar, Gil maintained, was the center of Emilio's, but for us it was the "red room" (the one with the fireplace) in winter and the "garden" (with hardly a plant to be seen) in summer. In the garden, July 1977, we cheered with the sweaty crowd as the Village came out of the blackout; all along, Emilio's had been the only place you could get ice in your drink (they trucked it in from Jersey). For 12 years, from the time we moved to New York, we used to meet there almost every week, and we charted our development in what we ordered: In 1975, Perry favored veal parmigiana and disdained the lasagna; by 1980, he knew better. Walter, by contrast, was an early lasagna fan, but in the '80s his taste turned in favor of the veal. No one, however, went to Emilio's for the food.
It was the atmosphere (you couldn't call it ambiance) that drew us back again and again, and that made us drag our friends there, no matter how snooty they were. Yuppification never put a dent in Emilio's: It was New York as you used to see it in old Don Ameche movies. The red-and-white checkered tablecloths disappeared in the late '70s, and fake Tiffany hanging lamps moved in, but the painful benches and little fake flowers endured. Now it's being turned into an appliance store - just what the neighborhood needs. The last gloppy forkful of characterless mozzarella went down as smoothly as the first. Emilio's is gone, but the heartburn lingers on.

Originally published in The Village Voice, January 19, 1988