In the intersection of the angles of a table, there is more truth than in all the tangle of muscles: Futurism as anti-humanist critique

The recent celebrations of the centenary of the publication of the Futurist manifesto led to a renewed discussion of the ideas and artworks of the Italian artists’ group. Jacques Rancière related the Futurist ethos with the modernist project of liberating art from representation. Franco ‘Bifo’ Berardi, in his post-Futurist manifesto, also identified a historical irony at play in the emptying out of Futurism’s promise: a liberated mechanical humanity did indeed materialize, in a global economic system premised on financial servitude to the future via debt. However, these models continue to assess Futurism against an unchallenged humanism, finding it either supporting ideals of freedom and human rights despite itself, or else lacking in these areas. But Futurism is potentially more relevant than ever not in spite of its anti-humanist agenda, precisely because of it. Tom McCarthy annexes not Futurist art but Futurist writing to an emerging object oriented ontology that seeks to challenge the primacy of the human. If Futurism is to be repurposed as a critical concept, it can only do so by countering the humanist myth the liberal subject that underlies the current cultural and political hegemony of neo-liberalism.

Children, futurity, and value: 'Adventures of Huckleberry Finn'

A recurrent but relatively unquestioned element in the canonisation of Adventures of Huckleberry Finn is that the novel is about securing a meaningful way forward for the American child. The sense is that the novel deserves to live and to have a future because it is about a child, and tied in with the need for the young nation to project and to determine its future. This might seem, to apply the terms of queer debate, to lend weight to ‘reproductive futurism’: the child and ‘American family values’ are to the fore, while sexual minorities and alternative social models are excluded. The present essay re-reads Huckleberry Finn and Twain’s other Huck narratives, using the coordinates of queer theory. The result is a more equivocal picture. Twain does use Huck to assert the rights of the white American family, but he also uses him to explore alternative ideas of social organisation. More fundamentally, Twain increasingly finds that the idea of the child is no longer a sufficient motive for believing in and projecting a future. Rather, his writing leads the reader towards the impossibility of the future, both for the nation and its child.