What it means to celebrate the potential and the power of no

What does it mean to refuse? To not participate, to not build a better world, to not come up with a plan? To just say “no”? Against the ubiquitous demands for positive solutions, action-oriented policies, and optimistic compromises, The Big No refuses to play. Here leading scholars traverse the wide range of political action when “no” is in the picture, analyzing topics such as collective action, antisocialism, empirical science, the negative and the affirmative in Deleuze and Derrida, the “real” and the “clone,” Native sovereignty, and Afropessimism.

In his introduction, Kennan Ferguson sums up the concept of the “Big No,” arguing for its political importance. Whatever its form—he identifies various strains—the Big No offers power against systems of oppression. Joshua Clover argues for the importance of Marx and Fanon in understanding how people are alienated and subjugated. Theodore Martin explores the attractions of antisociality in literature and life, citing such novelists as Patricia Highsmith and Richard Wright. François Laruelle differentiates nonphilosophy from other forms of French critical theory. Katerina Kolozova applies this insight to the nature of reality itself, arguing that the confusion of thought and reality leads to manipulation, automation, and alienation. Using poetry and autobiography, Frank Wilderson shows how Black people—their bodies and being—are displaced in politics, replaced and erased by the subjectivities of violence, suffering, and absence. Andrew Culp connects these themes of negativity, comparing and contrasting the refusals of antiphilosophy and Afropessimism. 

Thinking critically usually demands alternatives: how would you fix things? But, as The Big No shows, being absolutely critical—declining the demands of world-building—is one necessary response to wrong, to evil. It serves as a powerful reminder that the presumption of political action is always positive.

Contributors: Joshua Clover, U of California Davis and U of Copenhagen; Andrew Culp, California Institute of the Arts; Katerina Kolozova, Institute of Social Sciences and Humanities Skopje; Theodore Martin, U of California, Irvine; Anthony Paul Smith, La Salle U; Frank B. Wilderson III, U of California, Irvine. 

“Company H,” the Classic Civil War Memoir in a New Edition, Completely Annotated for the First Time and Illustrated with Twenty-Four Maps
Co. Aytch, or a Side Show of the Big Show is perhaps the finest memoir of an ordinary Confederate soldier. According to Margaret Mitchell, “a better book there never was.” Sam Watkins served in Company H of the First Tennessee Infantry for the duration of the Civil War. Remarkably, he survived some of the most intense battles of the war, including Shiloh, Chickamauga, Kennesaw Mountain, Atlanta, and Franklin. He was one of only seven of the original members of Company H when it surrendered in April 1865. Watkins’s memoir was written in the winter of 1882–83. The humor and depth of writing at times rises to a level resembling Mark Twain; thus, twenty-first-century readers can still discover the everlasting treasures of Private Sam Watkins’s story just as it was. It is this reason that excerpts were featured frequently in Ken Burns’s documentary on the Civil War. However, since most of Sam’s original readers—or some of their family members—actually lived through the Civil War, much of the context for the narrative was common knowledge. But what was once received history has gradually disappeared, and presently only specialists can fully understand and appreciate Sam’s tale.
The chief aim for this new annotated edition of Co. Aytch—the first of its kind—is to amplify the experience for today’s readers by providing the missing context. Over 240 annotations clarify the situational backgrounds, personalities, and terminology that might not be familiar to most readers. The annotations also identify and explain errors mostly resulting from Sam’s occasionally faulty memory or limited perspective. Similarly, twentyfour battlefield and war theater maps enable readers to track Sam’s combat participation as well as his journeys while marching with the army. Finally fifteen photographs and prints illustrate some of the battles, people, towns, buildings, tools of war, and ruins that Sam witnessed. As someone once cleverly observed, “It’s not an adventure until something goes wrong.” If nothing else, Sam’s memoir is a foot soldier’s view of the resulting horrors, heroics, and healing humor when war planning routinely goes awry.