By Kathleen Stewart
An area at the part of the line vividly conjures up an "other" the United States that survives precariously one of the ruins of the West Virginia coal camps and "hollers." To Kathleen Stewart, this actual "other" exists as an excluded subtext to the yank narrative of capitalism, modernization, materialism, and democracy. In cities like Amigo, pink Jacket, Helen, atypical, Viper, Decoy, and Twilight, women and men "just settin'" song a dense social imaginary via tales of traumas, apparitions, encounters, and eccentricities. Stewart explores how this rhythmic, dramatic, and intricate storytelling imbues daily life within the hills and kinds a cultural poetics. Alternating her personal ruminations on language, tradition, and politics with non-stop debts of "just talk," Stewart propels us into the depth of this apprehensive, surreal "space at the facet of the road." it's a house that provides us a glimpse right into a breach in American society itself, the place graveyards of junked autos and mounds of alternative trashed items suffer besides the thoughts that hang-out those that were left in the back of by way of "progress."Like James Agee's portrayal of the poverty-stricken tenant farmers of the melancholy South in allow us to Now compliment well-known males, this publication makes use of either language and pictures to assist readers come upon a fragmented and betrayed neighborhood, one "occupied" through schoolteachers, medical professionals, social employees, and different execs representing an "official" the US. maintaining at bay any makes an attempt at definitive, social medical research, Stewart has concocted a brand new kind of ethnographic writing that conveys the immediacy, density, texture, and materiality of the coal camps. an area at the facet of the line ultimately bridges the distance among anthropology and cultural reports and gives us with a super and demanding test in considering and writing approximately "America."
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Additional resources for A Space on the Side of the Road: Cultural Poetics in an "Other" America
While they were supposed fragrant because of their attractiveness, it was a dangerous sweetness, intoxicating but potentially ruinous. 122 These olfactory stereotypes of women are also present in ancient mythology. Circe, with her potions and perfumes, is an example of the fragrant seductress. Fragrant virtue is represented in such feminine types as the flower-garlanded Graces. The plight befalling women who rebel against the established order is described in the story of the women of Lemnos who, having failed to make the proper offerings to Venus, goddess of fragrance, were cursed with a foul odour.
In the modern West we think of perfume and food as constituting two very different categories, distinct both in odour and in edibility. In the ancient world, however, there was no such division: foods could be perfumed and perfumes could be, and were at times, eaten. Whereas most modern perfumes would be highly distasteful and probably poisonous, an ancient perfume composed of, say, attar of roses, cinnamon, honey and wine could be quite delightful to the palate. ’46 The different scents enjoyed at a banquet—perfume, flowers, incense, food and wine—therefore, would all be variations on an olfactory theme.
In the second century AD, the Greek physician Galen claimed that it was not the nose which perceived smell, but the brain. Proof of this, he held, lay in the way in which different odours were known to affect the brain. 190 In general, the Greeks and Romans believed, in accordance with humoral theory, that the qualities of hot, cold, dry, and wet constituted the basic sensory building blocks of the cosmos. According to this system, sweet, spicy smells were associated with the characteristics of hot and dry, and rotten smells with those of cold and wet.
A Space on the Side of the Road: Cultural Poetics in an "Other" America by Kathleen Stewart