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Gefeiert als »eloquent« (Chicago Tribune) und »stichhaltig« (The New Yorker), verströmt das Buch »einen Hauch von Genialität« (The Economist) und macht es unmöglich, mit den Thesen von Walter Benn Michaels »nicht übereinzustimmen« (The Washington Post). Michaels behauptet in »Der Trubel um Diversität«, dass unsere Fokusierung auf die »Differenz« den Unterschied außer Acht lässt, auf den es wirklich ankommt: den Unterschied zwischen Reichen und Armen. Respektlos nimmt Walter Benn Michaels sich die vielfältigen Ausprägungen unserer Besessenheit vor - Affirmative Action,...

The Shape of the Signifier is a critique of recent theory--primarily literary but also cultural and political. Bringing together previously unconnected strands of Michaels's thought--from "Against Theory" to Our America--it anatomizes what's fundamentally at stake when we think of literature in terms of the experience of the reader rather than the intention of the author, and when we substitute the question of who people are for the question of what they believe.

With signature virtuosity, Michaels shows how the replacement of ideological difference (we...

Argues that the contemporary commitment to the importance of cultural identity has reovated rather than replaced an earlier commitment to r4acial identity and asserts that the idea of culture, far from constituting a challenge to racism, is actually a for

Bertolt Brecht once worried that our sympathy for the victims of a social problem can make the problem's "beauty and attraction" invisible. In The Beauty of a Social Problem, Walter Benn Michaels explores the effort to overcome this difficulty through a study of several contemporary artist-photographers whose work speaks to questions of political economy.

Although he discusses well-known figures like Walker Evans and Jeff Wall, Michaels's focus is on a group of younger artists, including Viktoria Binschtok, Phil Chang, Liz Deschenes, and Arthur Ou. All born after 1965, they have...

The Gold Standard and the Logic of Naturalism discusses ways of creating value in turn-of-the-century American capitalism. Focusing on such topics as the alienation of property, the invention of masochism, and the battle over free silver, it examines the participation of cultural forms in these phenomena. It imagines a literary history that must at the same time be social, economic, and legal; and it imagines a literature that, to be understood at all, must be understood both as a producer and a product of market capitalism.