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2026 PROSE Award Finalist, Humanities: Literature

Petroforms contributes a much-needed theory of form and genre to the cutting-edge field of petrocriticism, itself an offshoot of developments in postcolonial ecocriticism. Studies of resource fiction and inquiries in the energy humanities have recently taken their rightful place as necessary reflections on the role of the literary imagination in intervening in the Anthropocene as we find ourselves precariously placed in the face of a fossil fuel crisis, climate change, and mass extinctions.

With Petroforms, Helen Kapstein undertakes close readings of a range of Nigerian aesthetic forms: short stories, romance novels, documentary film, the “Nollywood” film industry, fine art sculpture, and poetry. She uses these forms to argue that the demands of paying attention to petroleum extraction, production, consumption, and distribution in the creation of resource fictions must necessarily alter and affect conventional forms and structures. What results is a new set of genre-bending forms, like documentary film that we can read as horror, in response to the forceful and fluid demands of the petroleum industry and its master narrative.
Nigeria is one of the world’s largest oil-producing nations, in which that production is concentrated in the Niger Delta, resulting in a local environment that has been steadily degraded by oil spills, flares, pollution, and contamination, and a local culture shaped by false scarcity in a space of abundance, murderous politics, and escalating violence. At the same time as the Niger Delta grounds Kapstein’s argument in its own political realities and cultural responses, Nigeria’s participation in a global economy of petrodependency allows her theory of petroforms to be extended and applied more generally.

What Peter Hitchcock calls “oil’s generative law” is that it is “everywhere and obvious, it must be opaque or otherwise fantastic.” He means the coexistence of oil’s taken-for-granted qualities is something constitutive of every level of everyday life and its spectacular displays—gushers, spills, explosions. Oil’s nature, the fact that it is everywhere, unctuously oozing into every corner of everyday life, means that it constantly spills over out of our existing forms, genres, and systems, demanding accommodation. To try to contain it, we create new forms. Thus, a petroform is simultaneously reactionary (a necessary response to oil’s pressures, a by-product of the commodity itself) and resistant (an attempt at containment, at generating a retort to the very thing that shapes it). Each form figures oil and then configures and reconfigures itself in reaction to it.

As archaeologists recover the lost treasures of Alexandria, the modern world is marveling at the latter-day glory of ancient Egypt and the Greeks who ruled it from the ascension of Ptolemy I in 306 B.C. to the death of Cleopatra the Great in 30 B.C. The abundance and magnificence of royal sculptures from this period testify to the power of the Ptolemaic dynasty and its influence on Egyptian artistic traditions that even then were more than two thousand years old.

In this book, Paul Edmund Stanwick undertakes the first complete study of Egyptian-style portraits of the Ptolemies. Examining one hundred and fifty sculptures from the vantage points of literary evidence, archaeology, history, religion, and stylistic development, he fully explores how they meld Egyptian and Greek cultural traditions and evoke surrounding social developments and political events. To do this, he develops a "visual vocabulary" for reading royal portraiture and discusses how the portraits helped legitimate the Ptolemies and advance their ideology. Stanwick also sheds new light on the chronology of the sculptures, giving dates to many previously undated ones and showing that others belong outside the Ptolemaic period.