Academic literature on the topic 'Saint John Energy'

The proposed Energy East pipeline project has raised concerns about potential oil spills in Saint John, New Brunswick. While environmental conditions could pose challenges for using mechanical recovery methods if a spill occurs, chemical dispersant could be an alternative. However, the application of chemical dispersant in shallow water and costal zones remains an issue of debate. Furthermore, the effectiveness of chemical dispersant under different seasonal conditions is yet to be determined. This study attempts to describe a modelling effort to understand the probable distribution of petroleum hydrocarbons in Port Saint John following a hypothetical release of crude oil to which dispersant is applied during different seasons. A three-dimensional model was used to simulate the transport of oil with a release of 1,000 m3 of Arabian light crude in the summer and winter. A stochastic approach took into account the uncertainties of environmental inputs. The results were a significant reduction of oil ashore, and enhanced biodegradation with dispersant application. However, these effects were accompanied by an increase of oil in the sediment and water column, which is a concern. While the results are only conclusive for the selected scenarios of summer and winter, the method could be applied to other months and seasons to support more detailed analysis regarding dispersant application.

The Hanford Brook Formation (emended) is a thin (up to 42+ m), upper Lower Cambrian depositional sequence that is unconformably bounded by the lower Lower Cambrian (Random Formation) and the middle Middle Cambrian (Fossil Brook Member of the Chamberlain's Brook Formation). These stratigraphic relationships of the trilobite-bearing Hanford Brook Formation indicate deposition on the Avalonian marginal platform in the Saint John, New Brunswick, region and provide more evidence for a uniform, latest Precambrian–Cambrian epeirogenic history and cover sequence in Avalon. The Hanford Brook Formation is a deepening–shoaling sequence with (i) lower, transgressive sandstone deposited in episodically high-energy environments (St. Martins Member, new); (ii) highstand–regressive, dysaerobic mudstone – fine-grained sandstone with volcanic ashes (Somerset Street Member, new); and (iii) upper, regressive, planar and hummocky cross-stratified sandstone (Long Island Member, new). Trilobites are common in the distal Somerset Street Member, and ostracodes and brachiopods dominate the St. Martins and Long Island members. Condensation of the St. Martins Member and absence of the Long Island Member where the Random Formation and Fossil Brook Member are thinnest suggest onlap of the Hanford Brook and pronounced, sub-Middle Cambrian erosion across epeirogenically active blocks in southern New Brunswick.

A read of the critical geography literature on the concept of “networked infrastructures” generates two arguments in relation to the environmental justice implications of the new pipeline debates. First, the proposed coast-to-coast pipeline is likely to exacerbate existing environmental inequities in Canada. Conceiving of the crude oil in a pipeline as a material flow of commodified nature demonstrates that, at the end of the pipe, inputs of labour, technology and capital are required to convert the crude into useable forms of energy. This leads to a serious engagement with the communities at the ends of the proposed pipes. Here, I illustrate the type of analysis that is required with a preliminary examination of the expected environmental health impacts from increased refinery emissions in Sarnia, Montréal and Saint John. Second, the notion that pipelines, despite their vital effects, are fixed and durable installations of built infrastructure—lending a marked inertia to the routes they cement—produces intergenerational equity concerns in relation to fossil capitalism. These concerns are brought powerfully to the fore by activists under the banner of Idle No More. In fact, it is this growing indigenous resistance movement centered on lands and resources that best illustrates the obvious contradiction: the permanence of the pipelines on the landscape, once built, underscores the gravity of the choices we are weighing, just as the active resistance of indigenous people across the county reveals the inherent instability of the networked infrastructure.

Air Product, 2014, Cellulosic Biofuels (Pembakaran/Gasifikasi Lignin Hidrolisis). Air Products and Chemicals, Inc. http://www.airpro-ducts.co.id/industries/Energy/Bioenergy/Cellulosic-Biofuels/product-list/ com-bustiongasification-of-hydrolyis-lignin-cellulosic-biofuels.aspx?itemId =8F39-9214FA4A462FA14588FE4F 86D3C2, Diakses tanggal 27 Oktober 2014Alejandro R., L. Serranoa, A. Morala, A. Pereza dan L. Jimeneza, 2007, Bioresource Tehnology, 98 (3): 554-559.Andaka Ganjar, 2011, Hidrolisis Ampas Tebu Menjadi Furfural Dengan Katalisator Asam Sulfat, Jurnal Teknologi, Volume 4 Nomor 2, Desember 2011, 180-188Anindyawati, Trisanti, 2009, Prospek Enzim dan Limbah Lignoselulosa Untuk Produksi Bioetanol, Pusat Penelitian Bioteknologi-LIPI, CibinongAnnisa, Gina, 2012, Hidrodeoksigenasi Bio-Oil menggunakan katalis CoMo/C untuk Optimalisasi Produksi Alkana dan Alkohol, Skripsi Universitas Indonesia, Depok.Artati, K., Enny, E., Novia Margareta, H. Widhie Vissia, 2010, Konstanta Kecepatan Reaksi Sebagai Suhu Hidrolisa Selulosa Dari Ampas tebu dengan Katalisator Asam Sulfat. Ekuilibrum Volume 9 Nomor 1 Januari 2010 Hal. 1-4. ISSN 1412-9124Darnako, 1992, Potensi Pemanfataan Limbah Lignoselulosa Kelapa Sawit Melalui Bioonversi, Berita Penelitian Perkebunan, 2 (2) : 85 – 87.Dea, I. A., 2009, Kajian Awal Biokonversi Tandan Kosong Kelapa Sawit (TKKS) Menjadi Etanol Melalui Sakarifikasi dan fermentasi Alkoholik, Institut Teknologi Bandung, BandungDinas Perkebunan Provinsi Kalimantan Timur, 2013, Komoditi Kelapa Sawit, SamarindaFadiarwaty Diyah dan Susanto Herri, 2005, Penghematan Konsumsi Katalis Dalam Proses Hidrolisis Tandan kosong kelapa sawit Untuk Produksi Furfural, Jurnal Teknik Kimia Indonesia Volume 4 Nomor 3 Desember 2005 hal. 279 – 286Hambali, E., S. Mujdalipah, A. H. Tambunan, A. W. 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The random first order transition theory (RFOT) describing the transition from a supercooled liquid to an ideal glass has been actively developed over the last twenty years. This theory is formulated in a way that allows a description of the transition from the initial equilibrium state to the final metastable state without considering any kinetic processes. The RFOT and its applications for real molecular systems (multicomponent liquids with various intermolecular potentials, gel systems, etc.) are widely represented in English-language sources. However, these studies are practically not described in any Russian sources. This paper presents an overview of the studies carried out in this field. REFERENCES 1. Sanditov D. S., Ojovan M. I. Relaxation aspectsof the liquid—glass transition. Uspekhi FizicheskihNauk. 2019;189(2): 113–133. DOI: https://doi.org/10.3367/ufnr.2018.04.0383192. Tsydypov Sh. B., Parfenov A. N., Sanditov D. S.,Agrafonov Yu. V., Nesterov A. S. 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(IIUMEJ) IIUM ENGINEERING JOURNAL ISSN: 1511-788X E-ISSN: 2289-7860 Volume 19, Issue 2, December 2018 https://doi.org/10.31436/iiumej.v19i2 CHIEF EDITOR Ahmad Faris Ismail, IIUM, Malaysia TECHNICAL EDITOR Erry Yulian Triblas Adesta, IIUM, Malaysia EXECUTIVE EDITOR AHM Zahirul Alam, IIUM, Malaysia ASSOCIATE EDITOR Anis Nurashikin Nordin, IIUM, Malaysia LANGUAGE EDITOR Lynn Mason, Malaysia COPY EDITOR Hamzah Mohd. Salleh, IIUM, Malaysia EDITORIAL BOARD MEMBERS Abdullah Al-Mamun, IIUM, Malaysia Abdumalik Rakhimov, IIUM, Malaysia Amir Akramin Shafie, IIUM, Malaysia Erwin Sulaeman, IIUM, Malaysia Hanafy Omar, Saudi Arabia Hazleen Anuar, IIUM, Malaysia Konstantin Khanin, University of Toronto, Canada Ma'an Al-Khatib, IIUM, Malaysia Md Zahangir Alam, IIUM, Malaysia Meftah Hrairi, IIUM, Malaysia Mohamed B. Trabia, United States Mohammad S. Alam, Texas A&M University-Kingsville, United States Muataz Hazza Faizi Al Hazza, IIUM, Malaysia Mustafizur Rahman, National University Singapore, Singapore Nor Farahidah Binti Za'bah, IIUM, Malaysia Ossama Abdulkhalik, Michigan Technological University, United States Rosminazuin AB. Rahim, IIUM, Malaysia Waqar Asrar, IIUM, Malaysia INTERNATIONAL ADVISORY COMMITTEE A. Anwar, United States Abdul Latif Bin Ahmad, Malaysia Farzad Ismail, USM, Pulau Pinang, Malaysia Hanafy Omar, Saudi Arabia Hany Ammar, United States Idris Mohammed Bugaje, Nigeria K.B. Ramachandran, India Kunzu Abdella, Canada Luis Le Moyne, ISAT, University of Burgundy, France M Mujtaba, United Kingdom Mohamed AI-Rubei, Ireland Mohamed B Trabia, United States Mohammad S. 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Table of Content EDITORIAL............................................................................................... i CHEMICAL AND BIOTECHNOLOGY ENGINEERING CHLORELLA VULGARIS LOGISTIC GROWTH KINETICS MODEL IN HIGH CONCENTRATIONS OF AQUEOUS AMMONIA................... 1 Azlin Suhaida Azmi, Nurain Atikah Che Aziz, Noor Illi Mohamad Puad, Amanatuzzakiah Abdul Halim, Faridah Yusof, Suzana Yusup SYNTHETIC ANTIMICROBIAL AGENT AND ANTIMICROBIAL FABRICS: PROGRESS AND CHALLENGES............. 10 Norashikin Binti Mat Zain, John Olabode Akindoyo, Mohammad Dalour Hossen Beg CIVIL AND ENVIRONMENTAL ENGINEERING PERFORMANCE OF HIGH STRENGTH LIGHTWEIGHT CONCRETE USING PALM WASTES................................... 30 Md. Nazmul Huda, Mohd Zamin Jumaat, Abul Bashar Mohammad Saiful Islam, Walid Abubaker Al-Kutti ELECTRICAL, COMPUTER AND COMMUNICATIONS ENGINEERING WIDE RANGE MODULATION INDEXES FEATURED CARRIER-BASED PWM STEPPED WAVEFORM FOR HALF- BRIDGE MODULAR MULTILEVEL CONVERTERS......................................................................................... 43 Majdee Tohtayong, Sheroz Khan, Mashkuri Yaacob, Siti Hajar Yusoff, Nur Shahida Midi, Musse Muhamud Ahmed A NOVEL METHOD TO ESTIMATE ECONOMIC REPLACING TIME OF TRANSFORMER USING MONTE CARLO ALGORITHM AND ANN............................................................................................... 54 Mehdi Zareian Jahromi, M. Hossein Mehrabanjahromi, Mohsen Tajdinian, Mehdi Allahbakhshi ADAPTIVE TRIMMED MEAN AUTOREGRESSIVE MODEL FOR REDUCTION OF POISSON NOISE IN SCINTIGRAPHIC IMAGES.......... 68 Khan Bahadar Khan, Muhammad Shahid, Hayat Ullah, Eid Rehman, Muhammad Mohsin Khan EVALUATION OF THE W-METRIC ROUTING USING RPL PROTOCOL IN LLNS........................................................................ 80 Rosminazuin Ab Rahim, Abdallah M. Awwad, Aisha Hasan Abdalla, Aliza Aini Md Ralib INVESTIGATION ON NEED FOR SPECIFIC PROPAGATION MODEL FOR SPECIFIC ENVIRONMENT BASED ON DIFFERENT TERRAIN CHARACTERISTICS...................90 Jide Julius Popoola, Akinlolu Adediran Ponnle, Yekeen Olajide Olasoji, Samson Adenle Oyetunji A STUDY ON LOW-COMPLEXITY TRANSMIT ANTENNA SELECTION FOR GENERALIZED SPATIAL MODULATION.................................................................................. 105 Simeon Olumide Ajose, Adewale Akanbi Alafia, Agbotiname Lucky Imoize A NEW SPECTRUM AND ENERGY AWARE ROUTING PROTOCOL IN COGNITIVE RADIO SENSOR NETWORK.............................. 118 Sara Moshtaghi, Sayyed Majid Mazinani RECENT TRENDS IN DENGUE DETECTION METHODS USING BIOSENSORS................................................................................ 134 Ahmad Anwar Zainuddin, Anis Nurashikin Nordin, Rosminazuin Ab Rahim NUMERICAL ANALYSIS OF TUNNEL LED LIGHTING MAINTENANCE FACTOR.......................................................................... 154 Mehmet Sait Cengiz, Çiğdem Cengiz ENGINEERING MATHEMATICS AND APPLIED SCIENCE ABOUT THE SILICON SENSITIVITY OF THE DEEP LEVEL WITH ALTERNATING PRESSURE................................... 164 Ikrom Gulamovich Tursunov, Abdurahim Abduraxmonovich Okhunov, Odiljon Oxundadaevich Mamatkarimov THE HYDRODYNAMIC COEFFICIENTS FOR OSCILLATING 2D RECTANGULAR BOX USING WEAKLY COMPRESSIBLE SMOOTHED PARTICLE HYDRODYNAMICS (WCSPH) METHOD................................................................................. 172 Muhammad zahir ramli AN ANALYTICAL TECHNIQUE TO OBTAIN HIGHER-ORDER APPROXIMATE PERIODS FOR THE NONLINEAR OSCILLATOR................... 182 Md Sazzad Hossien Chowdhury, Md. Alal Hosen, Mohammad Yeakub Ali, Ahmad Faris Ismail MATERIALS AND MANUFACTURING ENGINEERING EFFECT OF POLY (ETHYLENE GLYCOL) ON THE INJECTABILITY, SETTING BEHAVIOR AND MECHANICAL PROPERTIES OF CALCIUM PHOSPHATE BONE CEMENT.........................................................192 Sufiamie Hablee, Iis Sopyan, Maizirwan Mel, Hamzah Mohd. Salleh, Md. Mujibur Rahman MECHANICAL AND AEROSPACE ENGINEERING STUDY OF MESH QUALITY IMPROVEMENT FOR CFD ANALYSIS OF AN AIRFOIL................................................ 203 Farah Aqilah, Mazharul Islam, Franjo Juretic, Joel Guerrero, David Wood, Farid Nasir Ani MECHATRONICS AND AUTOMATION ENGINEERING COLOR RECOGNITION WEARABLE DEVICE USING MACHINE LEARNING FOR VISUALY IMPAIRED PERSON................................... 213 Tarek Mohamed Bolad , Nik Nur Wahidah Nik Hashim, Noor Hazrin Hany Mohamad Hanif COMBINATION OF FUSED DEPOSITION MODELLING WITH ABRASIVE MILLING FOR ATTAINING HIGHER DIMENSIONAL ACCURACY AND BETTER SURFACE FINISH ..................................... 221 Abu Naser Mohammad Amanullah Tomal, Tanveer Saleh, Md Raisuddin Khan Whilst every effort is made by the publisher and editorial board to see that no inaccurate or misleading data, opinion or statement appears in this Journal, they wish to make it clear that the data and opinions appearing in the articles and advertisement herein are the responsibility of the contributor or advertiser concerned. Accordingly, the publisher and the editorial committee accept no liability whatsoever for the consequence of any such inaccurate or misleading data, opinion or statement. Published by: IIUM Press, International Islamic University Malaysia Jalan Gombak, 53100 Kuala Lumpur, Malaysia Phone (+603) 6196-5014, Fax: (+603) 6196-6298 Website: http://www.iium.edu.my/office/iiumpress

Paul Virilio. The Information Bomb. London: Verso, 2000. 145 pp., ISBN: 1-85984-745-5 (hardback). Born in Paris in 1932, the French political and 'technocultural' theorist Paul Virilio is the leading exponent of the idea that 'dromology' (the logic of speed) stands at the centre of the political formation and technocultural transformation of the contemporary world. Virilio is an architect of the 'Brutalist' school and political 'critic of the art of technology' as well as a Husserlian phenomenologist and post-Einsteinian analyst of technoculture. In recent years Virilio has developed his own political approach to the technocultural and experiential effects of speed and technoscience on the organisation of cyberspace and cyberculture. It is an approach that is increasingly being adopted and adapted by a variety of pre-eminent thinkers on the Left such as Jean Baudrillard, Slavoj Zizek and Andre Gorz. As the son of a Breton mother and an Italian communist father in Nazi-occupied France, Virilio spent the majority of World War II as an anxious evacuee in Nantes. In 1950 he converted to Christianity in the fraternity of 'worker-priests'. Virilio was educated at the L'École des Métiers d'Art in Paris and first became a craftsman in stained glass before becoming a sort of intellectual provocateur and co-editor of Architecture Principe, an architectural group and occasional review devoted to radical political and architectural experimentation. Between 1963 and 1966 Virilio dedicated his time to studying the architecture of war and to the construction of the 'bunker church' of Sainte-Bernadette du Banlay at Nevers. Virilio became politically active during the 1968 May revolt and this led to an irrevocable split with his partner in Architecture Principe, the architect Claude Parent. In 1969 Virilio was instated as a professor of architecture at the École Speciale d'Architecture at the behest of the students there, a position he occupied until his retirement in 1997. Virilio's major work is Speed & Politics: An Essay on Dromology (1986), written, he maintains, to raise the political question of speed as the hidden side of economic development. Virilio's recent texts such as Open Sky (1997) and now The Information Bomb can therefore be regarded as important advances in his current work on the politics of techno, or, cyberculture. As the son of a Breton mother and an Italian communist father in Nazi-occupied France, Virilio spent the majority of World War II as an anxious evacuee in Nantes. In 1950 he converted to Christianity in the fraternity of 'worker-priests'. Virilio was educated at the L'École des Métiers d'Art in Paris and first became a craftsman in stained glass before becoming a sort of intellectual provocateur and co-editor of Architecture Principe, an architectural group and occasional review devoted to radical political and architectural experimentation. Between 1963 and 1966 Virilio dedicated his time to studying the architecture of war and to the construction of the 'bunker church' of Sainte-Bernadette du Banlay at Nevers. Virilio became politically active during the 1968 May revolt and this led to an irrevocable split with his partner in Architecture Principe, the architect Claude Parent. In 1969 Virilio was instated as a professor of architecture at the École Speciale d'Architecture at the behest of the students there, a position he occupied until his retirement in 1997. Virilio's major work is Speed & Politics: An Essay on Dromology (1986), written, he maintains, to raise the political question of speed as the hidden side of economic development. Virilio's recent texts such as Open Sky (1997) and now The Information Bomb can therefore be regarded as important advances in his current work on the politics of techno, or, cyberculture. Virilio's newest political and technocultural work, The Information Bomb, is set to become an important text of intellectual and dromological analysis. On its opening page Virilio quotes Werner Heisenberg, the German physicist, chief architect of quantum mechanics and founder of the 'uncertainty principle': 'No one can say what will be "real" for people when the wars which are now beginning come to an end'. Briefly, Heisenberg's uncertainty principle states that if a simultaneous calculation is made of the location and speed of a particle then, no matter how faithful the calculations, there is always an uncertainty in the values acquired. It deals with the simultaneous calculation of energy and time. The uncertainty occurs because the act of perceiving the system interferes with it in an unpredictable manner. But uncertainty is only significant at the atomic and subatomic levels and at these levels throws the principle of causality into confusion. Virilio's The Information Bomb therefore examines the dromological and uncertain relationships between the 'reality' of the war universe, speed and, crucially, our perception of its main causalities. The key question and the first sentence of Virilio's book is: 'The civilianisation or militarisation of science?' Virilio answers by describing what he calls the catastrophes of postmodern technoscience and globalisation, Americanisation, biotechnology, Internet pornography and the advertising industry in the most uncompromising terms. Virilio's riposte to the question is already contained in the book's title. This is because, for him, since the end of World War II, the militarisation of science and the construction of two kinds of bomb have overshadowed civilian life. The first is the atom bomb, 'which is capable of using the energy of radioactivity to smash matter'. The second is the information bomb, 'which is capable of using the interactivity of information to wreck the peace between nations'. Virilio delineates the existence of the information bomb, of an explosion of mediated misery around the world, in terms of the deterioration of language and the sheer seductive power of TV and computer screens, the acceleration of history and the emergence of new inter-generational conflicts. Virilio forcefully argues that the advent of the information bomb requires the creation of a new type of social deterrence if nations are to avoid the 'fission' of their 'social cores' as they enter into the uncertain and often shocking world of chronopolitics. For this is a topsy-turvy world where neo-liberalism confronts 'cyberfeminism' and the military-scientific complex contemplates the arrival of 'cyberwar' and 'grey ecology' (the pollution of distances) under the sign of cinematic disinformation from Hollywood and the technological transformation of work through the introduction of mobile phones and 'zero-hour' contracts. Or, as Virilio says at one point in The Information Bomb: in today's 'dromocratic' capitalism, when the biotech corporation calls, 'you come running'. It would, though, be incorrect to view Virilio's political opposition to the uncritical acceptance of technoculture and the explosion of the information bomb as a wholly pessimistic stance on the spread of neo-liberalism in realms such as the multimedia. Virilio's work is, for example, in no way analogous to that of Baudrillard, the intellectual high priest of postmodernism. In truth, Virilio manifestly frames his recent writings in relation to a guarded optimism concerning what I have elsewhere called his 'hypermodern' technocultural theory: a theory involved with the acceleration and dislocation of modern forms of thought about the contemporary world and how it is depicted. It is therefore perfectly plausible to derive from Virilio's dromological texts a scientifically 'uncertain' conception of 'reality' that focusses on the concepts of hypermodernism and 'hypermodernity'. The latter is an idea centred on coming to terms with the speeding-up of historical processes and a critical analysis of modernity based on a political perception of technoculture that is catastrophic. In this way, Virilio typically conceives of the developments he documents in The Information Bomb not as the psychoanalytic problems of progress but as the technoscientific and 'excessive' displacement of them. It is a conceptualisation that is evident in his dromological and dynamic writings on the subject of 'information superhighways' and the 'full range of communications disturbances acquired over the recent centuries of technology'. 'In this field', Virilio says, progress 'acts like a forensic scientist on us' since it violates 'each bodily orifice'. But such 'brutal incursions' do not merely influence individuals; they colonise them. For Virilio, then, progress 'heaps up, accumulates and condenses in each of us the full range of (visual, social, psycho-motor, affective, sexual, etc.) detrital disorders which it has taken on with each innovation, each with their full complement of specific injuries'. All criticism of technology having disappeared, 'we have slid unconsciously from pure technology to techno-culture and, lastly, to the dogmatism of a totalitarian techno-cult...' As can be ascertained from the above examples, Virilio's work sits uneasily with almost all the prevailing paradigms and methodological approaches currently on offer. Chasing a multitude of Foucauldian discontinuities and shape-shifting Deleuzian inflected 'lines of flight' simultaneously, The Information Bomb can thus be seen as a reflection of his self-professed 'anarcho-Christianity'. It is a methodological stance, political perspective and religious position Virilio shares to some extent with the author of The Technological Society (1964), the late Jacques Ellul. Viewed from this angle, Virilio's oppositional and overtly political writings on the 'hypermodern condition' present a comprehensible methodological outlook. It is, however, an outlook that is somewhat at odds with the political and intellectual terrain occupied by 'transpolitical' postmodernists such as Baudrillard, 'poststructuralist anarchists' like Michel Foucault and Gilles Deleuze and the deconstructionist and 'spectral Marxist' Jacques Derrida. Nonetheless, it would be a mistake to imagine that Virilio's rather abstract writings in The Information Bomb opposing the rise of neo-liberalism and the hypermodern condition have not touched a nerve in France. Left-leaning theoreticians and the editors of newspapers such as Le Monde Diplomatique regularly pursue Virilio's forthright opinions in the form of articles and interviews on everything from Fukuyama's The End of History and the Last Man (1992) to his own thoughts on the end of geography and technoculture. Virilio is therefore a very creative political theorist who articulates himself with equal ease in academic and non-specialist technocultural works. Unlike Foucault, Virilio is the personification of the 'engaged intellectual'. Rather than simply opting for the life of a professor of architecture at the École Speciale d' Architecture, Virilio has always chosen to communicate his ideas to as wide an audience as possible, a strategy that earned him a 'National Award for Criticism' in 1987. Virilio's contemporary writings thus necessarily involve a dromological, political and technocultural encounter with the militarisation of science in the shape of the Internet. Even so, unlike Virilio's earlier texts such as Open Sky (1997), in The Information Bomb Virilio does not merely concentrate his gaze on society's apparent need for speed but, decisively, on its present-day extension into pornography and advertising and their integration into the commercialisation of the art world. Describing the 1997 London Royal Academy exhibition entitled 'Sensation' ostensibly held to present young British artists, Virilio suggests that, like many others, in actuality, this exhibition was designed and presented by 'the sex-culture-advertising movement'. This is because the '110 works on display (a portrait of child-murderer Myra Hindley, casts of childlike bodies with mouths replaced by phalluses, etc.) belonged, without exception, to Charles Saatchi, one of Britain's great advertising moguls'. What is at issue here for Virilio is the recognition that, like the need for speed and the example of the Internet, the distinctions between the world of pornography, the world of art and the world of advertising have all but been obliterated in the name of nothing more profound than 'breaking down the last taboos'. However, in Virilio's hypermodern conception of the 'terminal arts', a 'confrontation between a tortured body and an automatic camera' not only signifies the coming of the 'sex-culture-advertising-complex' but, equally importantly, the onset of 'endocolonisation' or, what takes place when militarised technoscience colonises the human body with the aim of reducing every member of humanity that has 'had its day' to the status of a 'specimen'. The political critiques provided by Virilio in The Information Bomb are a welcome development. For, today, it is sometimes all too easy to criticise the discipline of cultural studies for its celebration of political, technological and cultural différance without any corresponding recognition of economic and other inequalities founded on class, gender and race. Moreover, Virilio's fervent and occasionally maniacal critique of the art of technology stands out because it stretches from political and technocultural studies to economic and film studies, sometimes in the space of a single paragraph. Taking in Hollywood directors and obvious film productions such as Jan de Bont's Speed as well as the work of French cinematic pioneers like the Lumière brothers', Virilio's The Information Bomb is an important publication. But, unlike numerous other 'cybercultural' tomes, the significance of this book is derived from the fact that it also manages to extend the scope of political and technocultural studies through the provision of often-abstruse pronouncements such as Kafka's claim that the cinema 'involves putting the eye into uniform'. The political critiques provided by Virilio in The Information Bomb are a welcome development. For, today, it is sometimes all too easy to criticise the discipline of cultural studies for its celebration of political, technological and cultural différance without any corresponding recognition of economic and other inequalities founded on class, gender and race. Moreover, Virilio's fervent and occasionally maniacal critique of the art of technology stands out because it stretches from political and technocultural studies to economic and film studies, sometimes in the space of a single paragraph. Taking in Hollywood directors and obvious film productions such as Jan de Bont's Speed as well as the work of French cinematic pioneers like the Lumière brothers', Virilio's The Information Bomb is an important publication. But, unlike numerous other 'cybercultural' tomes, the significance of this book is derived from the fact that it also manages to extend the scope of political and technocultural studies through the provision of often-abstruse pronouncements such as Kafka's claim that the cinema 'involves putting the eye into uniform'. Yet it would be wrong to think that such an individualistic political and technocultural approach cannot be extended beyond Virilio's own anarcho-Christianity or the writings of Ellul. For example, Virilio's The Art of the Motor (1995) has been an important reference point in the recent writings of imaginative Marxists as distinct as Zizek in The Plague of Fantasies (1997) and Gorz in Reclaiming Work: Beyond the Wage-Based Society (1999). It would be difficult to believe that The Information Bomb will not become another significant source in the future works of other creative radicals, offering as it does not only a provisional pathway out of the quicksand of postmodernism but also a way into the sympathies of ordinary people. Firing off political concepts and technocultural neologisms at the speed of light, Virilio's passionately argued texts do not always hit their intended targets. But for anyone seeking a hypermodern critique of the cultural logic of late militarism that ranges from the Internet and the commercialisation of art to endocolonisation and the accident, Virilio's radical political and technocultural theory of speed contained in The Information Bomb is just what you have been waiting for. Citation reference for this article MLA style: John Armitage. "The Uncertainty Principle: Paul Virilio's 'The Information Bomb'." M/C: A Journal of Media and Culture 3.3 (2000). [your date of access] <http://www.api-network.com/mc/0006/virilio.php>. Chicago style: John Armitage, "The Uncertainty Principle: Paul Virilio's 'The Information Bomb'," M/C: A Journal of Media and Culture 3, no. 3 (2000), <http://www.api-network.com/mc/0006/virilio.php> ([your date of access]). APA style: John Armitage. (2000) The uncertainty principle: Paul Virilio's 'The information bomb'. M/C: A Journal of Media and Culture 3(3). <http://www.api-network.com/mc/0006/virilio.php> ([your date of access]).

If you cannot understand my argument, and declare “It’s Greek to me,” you are quoting Shakespeare.Bernard LevinPsoriatic arthritis, in its acute or “generalised” stage, is unbearably painful. Exacerbating the crippling of the joints, the entire surface of the skin is covered with lesions only moderately salved by anti-inflammatory ointment, the application of which is as painful as the ailment it seeks to relieve: NURSE MILLS: I’ll be as gentle as I can.Marlow’s face again fills the screen, intense concentration, comical strain, and a whispered urgency in the voice over—MARLOW: (Voice over) Think of something boring—For Christ’s sake think of something very very boring—Speech a speech by Ted Heath a sentence long sentence from Bernard Levin a quiz by Christopher Booker a—oh think think—! Really boring! A Welsh male-voice choir—Everything in Punch—Oh! Oh! — (Potter 17-18)Marlow’s collation of boring things as a frantic liturgy is an attempt to distract himself from a tumescence that is both unwanted and out of place. Although bed-ridden and in constant pain, he is still sensitive to erogenous stimulation, even when it is incidental. The act of recollection, of garnering lists of things that bore him, distracts him from his immediate situation as he struggles with the mental anguish of the prospect of a humiliating orgasm. Literary lists do many things. They provide richness of detail, assemble and corroborate the materiality of the world of which they are a part and provide insight into the psyche and motivation of the collator. The sheer desperation of Dennis Potter’s Marlow attests to the arbitrariness of the list, the simple requirement that discrete and unrelated items can be assembled in linear order, without any obligation for topical concatenation. In its interrogative form, the list can serve a more urgent and distressing purpose than distraction:GOLDBERG: What do you use for pyjamas?STANLEY: Nothing.GOLDBERG: You verminate the sheet of your birth.MCCANN: What about the Albigensenist heresy?GOLDBERG: Who watered the wicket in Melbourne?MCCANN: What about the blessed Oliver Plunkett?(Pinter 51)The interrogative non sequitur is an established feature of the art of intimidation. It is designed to exert maximum stress in the subject through the use of obscure asides and the endowing of trivial detail with profundity. Harold Pinter’s use of it in The Birthday Party reveals how central it was to his “theatre of menace.” The other tactic, which also draws on the logic of the inventory to be both sequential and discontinuous, is to break the subject’s will through a machine-like barrage of rhetorical questions that leave no time for answers.Pinter learned from Samuel Beckett the pitiless, unforgiving logic of trivial detail pushed to extremes. Think of Molloy’s dilemma of the sucking stones. In order for all sixteen stones that he carries with him to be sucked at least once to assuage his hunger, a reliable system has to be hit upon:Taking a stone from the right pocket of my greatcoat, and putting it in my mouth, I replaced it in the right pocket of my greatcoat by a stone from the right pocket of my trousers, which I replaced with a stone from the left pocket of my trousers, which I replaced by a stone from the left pocket of my greatcoat, which I replaced with the stone that was in my mouth, as soon as I had finished sucking it. Thus there were still four stones in each of my four pockets, but not quite the same stones. And when the desire to suck took hold of me again, I drew again on the right pocket of my greatcoat, certain of not taking the same stone as the last time. And while I sucked it I rearranged the other stones in the way I have just described. And so on. (Beckett, Molloy 69)And so on for six pages. Exhaustive permutation within a finite lexical set is common in Beckett. In the novel Watt the eponymous central character is charged with serving his unseen master’s dinner as well as tidying up afterwards. A simple and bucolic enough task it would seem. But Beckett’s characters are not satisfied with conjecture, the simple assumption that someone must be responsible for Mr. Knott’s dining arrangements. Like Molloy’s solution to the sucking stone problem, all possible scenarios must be considered to explain the conundrum of how and why Watt never saw Knott at mealtime. Twelve possibilities are offered, among them that1. Mr. Knott was responsible for the arrangement, and knew that he was responsible for the arrangement, and knew that such an arrangement existed, and was content.2. Mr. Knott was not responsible for the arrangement, but knew who was responsible for the arrangement, and knew that such an arrangement existed, and was content.(Beckett, Watt 86)This stringent adherence to detail, absurd and exasperating as it is, is the work of fiction, the persistence of a viable, believable thing called Watt who exists as long as his thought is made manifest on a page. All writers face this pernicious prospect of having to confront and satisfy “fiction’s gargantuan appetite for fact, for detail, for documentation” (Kenner 70). A writer’s writer (Philip Marlow) Dennis Potter’s singing detective struggles with the acute consciousness that words eventually will fail him. His struggle to overcome verbal entropy is a spectre that haunts the entire literary imagination, for when the words stop the world stops.Beckett made this struggle the very stuff of his work, declaring famously that all he wanted to do as a writer was to leave “a stain upon the silence” (quoted in Bair 681). His characters deteriorate from recognisable people (Hamm in Endgame, Winnie in Happy Days) to mere ciphers of speech acts (the bodiless head Listener in That Time, Mouth in Not I). During this process they provide us with the vocabulary of entropy, a horror most eloquently expressed at the end of The Unnamable: I can’t go on, you must go on, I’ll go on, you must say words, as long as there are any, until they find me, until they say me, strange pain, strange sin, you must go on, perhaps it’s done already, perhaps they have said me already, perhaps they have carried me to the threshold of my story, before the door that opens on my story, that would surprise me, if it opens, it will be I, it will be the silence, where I am, I don’t know, I’ll never know, in the silence you don’t know, you must go on, I can’t go on, I’ll go on. (Beckett, Molloy 418)The importance Beckett accorded to pauses in his writing, from breaks in dialogue to punctuation, stresses the pacing of utterance that is in sync with the rhythm of human breath. This is acutely underlined in Jack MacGowran’s extraordinary gramophone recording of the above passage from The Unnamable. There is exhaustion in his voice, but it is inflected by an urgent push for the next words to forestall the last gasp. And what might appear to be parsimony is in fact the very commerce of writing itself. It is an economy of necessity, when any words will suffice to sustain presence in the face of imminent silence.Hugh Kenner has written eloquently on the relationship between writing and entropy, drawing on field and number theory to demonstrate how the business of fiction is forever in the process of generating variation within a finite set. The “stoic comedian,” as he figures the writer facing the blank page, self-consciously practices their art in the full cognisance that they select “elements from a closed set, and then (arrange) them inside a closed field” (Kenner 94). The nouveau roman (a genre conceived and practiced in Beckett’s lean shadow) is remembered in literary history as a rather austere, po-faced formalism that foregrounded things at the expense of human psychology or social interaction. But it is emblematic of Kenner’s portrait of stoicism as an attitude to writing that confronts the nature of fiction itself, on its own terms, as a practice “which is endlessly arranging things” (13):The bulge of the bank also begins to take effect starting from the fifth row: this row, as a matter of fact, also possesses only twenty-one trees, whereas it should have twenty-two for a true trapezoid and twenty-three for a rectangle (uneven row). (Robbe-Grillet 21)As a matter of fact. The nouveau roman made a fine if myopic art of isolating detail for detail’s sake. However, it shares with both Beckett’s minimalism and Joyce’s maximalism the obligation of fiction to fill its world with stuff (“maximalism” is a term coined by Michel Delville and Andrew Norris in relation to the musical scores of Frank Zappa that opposes the minimalism of John Cage’s work). Kenner asks, in The Stoic Comedians, where do the “thousands on thousands of things come from, that clutter Ulysses?” His answer is simple, from “a convention” and this prosaic response takes us to the heart of the matter with respect to the impact on writing of Isaac Newton’s unforgiving Second Law of Thermodynamics. In the law’s strictest physical sense of the dissipation of heat, of the loss of energy within any closed system that moves, the stipulation of the Second Law predicts that words will, of necessity, stop in any form governed by convention (be it of horror, comedy, tragedy, the Bildungsroman, etc.). Building upon and at the same time refining the early work on motion and mass theorised by Aristotle, Kepler, and Galileo, inter alia, Newton refined both the laws and language of classical mechanics. It was from Wiener’s literary reading of Newton that Kenner segued from the loss of energy within any closed system (entropy) to the running silent out of words within fiction.In the wake of Norbert Wiener’s cybernetic turn in thinking in the 1940s, which was highly influenced by Newton’s Second Law, fiction would never again be considered in the same way (metafiction was a term coined in part to recognise this shift; the nouveau roman another). Far from delivering a reassured and reassuring present-ness, an integrated and ongoing cosmos, fiction is an isometric exercise in the struggle against entropy, of a world in imminent danger of running out of energy, of not-being:“His hand took his hat from the peg over his initialled heavy overcoat…” Four nouns, and the book’s world is heavier by four things. One, the hat, “Plasto’s high grade,” will remain in play to the end. The hand we shall continue to take for granted: it is Bloom’s; it goes with his body, which we are not to stop imagining. The peg and the overcoat will fade. “On the doorstep he felt in his hip pocket for the latchkey. Not there. In the trousers I left off.” Four more things. (Kenner 87)This passage from The Stoic Comedians is a tour de force of the conjuror’s art, slowing down the subliminal process of the illusion for us to see the fragility of fiction’s precarious grip on the verge of silence, heroically “filling four hundred empty pages with combinations of twenty-six different letters” (xiii). Kenner situates Joyce in a comic tradition, preceded by Gustave Flaubert and followed by Beckett, of exhaustive fictive possibility. The stoic, he tells us, “is one who considers, with neither panic nor indifference, that the field of possibilities available to him is large perhaps, or small perhaps, but closed” (he is prompt in reminding us that among novelists, gamblers and ethical theorists, the stoic is also a proponent of the Second Law of Thermodynamics) (xiii). If Joyce is the comedian of the inventory, then it is Flaubert, comedian of the Enlightenment, who is his immediate ancestor. Bouvard and Pécuchet (1881) is an unfinished novel written in the shadow of the Encyclopaedia, an apparatus of the literate mind that sought complete knowledge. But like the Encyclopaedia particularly and the Enlightenment more generally, it is fragmentation that determines its approach to and categorisation of detail as information about the world. Bouvard and Pécuchet ends, appropriately, in a frayed list of details, pronouncements and ephemera.In the face of an unassailable impasse, all that is left Flaubert is the list. For more than thirty years he constructed the Dictionary of Received Ideas in the shadow of the truncated Bouvard and Pécuchet. And in doing so he created for the nineteenth century mind “a handbook for novelists” (Kenner 19), a breakdown of all we know “into little pieces so arranged that they can be found one at a time” (3): ACADEMY, FRENCH: Run it down but try to belong to it if you can.GREEK: Whatever one cannot understand is Greek.KORAN: Book about Mohammed, which is all about women.MACHIAVELLIAN: Word only to be spoken with a shudder.PHILOSOPHY: Always snigger at it.WAGNER: Snigger when you hear his name and joke about the music of the future. (Flaubert, Dictionary 293-330)This is a sample of the exhaustion that issues from the tireless pursuit of categorisation, classification, and the mania for ordered information. The Dictionary manifests the Enlightenment’s insatiable hunger for received ideas, an unwieldy background noise of popular opinion, general knowledge, expertise, and hearsay. In both Bouvard and Pécuchet and the Dictionary, exhaustion was the foundation of a comic art as it was for both Joyce and Beckett after him, for the simple reason that it includes everything and neglects nothing. It is comedy born of overwhelming competence, a sublime impertinence, though not of manners or social etiquette, but rather, with a nod to Oscar Wilde, the impertinence of being definitive (a droll epithet that, not surprisingly, was the title of Kenner’s 1982 Times Literary Supplement review of Richard Ellmann’s revised and augmented biography of Joyce).The inventory, then, is the underlining physio-semiotics of fictional mechanics, an elegiac resistance to the thread of fiction fraying into nothingness. The motif of thermodynamics is no mere literary conceit here. Consider the opening sentence in Borges:Of the many problems which exercised the reckless discernment of Lönnrot, none was so strange—so rigorously strange, shall we say—as the periodic series of bloody events which culminated at the villa of Triste-le-Roy, amid the ceaseless aroma of the eucalypti. (Borges 76)The subordinate clause, as a means of adjectival and adverbial augmentation, implies a potentially infinite sentence through the sheer force of grammatical convention, a machine-like resistance to running out of puff:Under the notable influence of Chesterton (contriver and embellisher of elegant mysteries) and the palace counsellor Leibniz (inventor of the pre-established harmony), in my idle afternoons I have imagined this story plot which I shall perhaps write someday and which already justifies me somehow. (72)In “Pierre Menard, Author of the Quixote,” a single adjective charmed with emphasis will do to imply an unseen network:The visible work left by this novelist is easily and briefly enumerated. (Borges 36)The annotation of this network is the inexorable issue of the inflection: “I have said that Menard’s work can be easily enumerated. Having examined with care his personal files, I find that they contain the following items.” (37) This is a sample selection from nineteen entries:a) A Symbolist sonnet which appeared twice (with variants) in the review La conque (issues of March and October 1899).o) A transposition into alexandrines of Paul Valéry’s Le cimitière marin (N.R.F., January 1928).p) An invective against Paul Valéry, in the Papers for the Suppression of Reality of Jacques Reboul. (37-38)Lists, when we encounter them in Jorge Luis Borges, are always contextual, supplying necessary detail to expand upon character and situation. And they are always intertextual, anchoring this specific fictional world to others (imaginary, real, fabulatory or yet to come). The collation and annotation of the literary works of an imagined author (Pierre Menard) of an invented author (Edmond Teste) of an actual author (Paul Valéry) creates a recursive, yet generative, feedback loop of reference and literary progeny. As long as one of these authors continues to write, or write of the work of at least one of the others, a persistent fictional present tense is ensured.Consider Hillel Schwartz’s use of the list in his Making Noise (2011). It not only lists what can and is inevitably heard, in this instance the European 1700s, but what it, or local aural colour, is heard over:Earthy: criers of artichokes, asparagus, baskets, beans, beer, bells, biscuits, brooms, buttermilk, candles, six-pence-a-pound fair cherries, chickens, clothesline, cockles, combs, coal, crabs, cucumbers, death lists, door mats, eels, fresh eggs, firewood, flowers, garlic, hake, herring, ink, ivy, jokebooks, lace, lanterns, lemons, lettuce, mackeral, matches […]. (Schwartz 143)The extended list and the catalogue, when encountered as formalist set pieces in fiction or, as in Schwartz’s case, non-fiction, are the expansive equivalent of le mot juste, the self-conscious, painstaking selection of the right word, the specific detail. Of Ulysses, Kenner observes that it was perfectly natural that it “should have attracted the attention of a group of scholars who wanted practice in compiling a word-index to some extensive piece of prose (Miles Hanley, Word Index to Ulysses, 1937). More than any other work of fiction, it suggests by its texture, often by the very look of its pages, that it has been painstakingly assembled out of single words…” (31-32). In a book already crammed with detail, with persistent reference to itself, to other texts, other media, such formalist set pieces as the following from the oneiric “Circe” episode self-consciously perform for our scrutiny fiction’s insatiable hunger for more words, for invention, the Latin root of which also gives us the word inventory:The van of the procession appears headed by John Howard Parnell, city marshal, in a chessboard tabard, the Athlone Poursuivant and Ulster King of Arms. They are followed by the Right Honourable Joseph Hutchinson, lord mayor Dublin, the lord mayor of Cork, their worships the mayors of Limerick, Galway, Sligo and Waterford, twentyeight Irish representative peers, sirdars, grandees and maharajahs bearing the cloth of estate, the Dublin Metropolitan Fire Brigade, the chapter of the saints of finance in their plutocratic order of precedence, the bishop of Down and Connor, His Eminence Michael cardinal Logue archbishop of Armagh, primate of all Ireland, His Grace, the most reverend Dr William Alexander, archbishop of Armagh, primate of all Ireland, the chief rabbi, the Presbyterian moderator, the heads of the Baptist, Anabaptist, Methodist and Moravian chapels and the honorary secretary of the society of friends. (Joyce, Ulysses 602-604)Such examples demonstrate how Joycean inventories break from narrative as architectonic, stand-alone assemblages of information. They are Rabelaisian irruptions, like Philip Marlow’s lesions, that erupt in swollen bas-relief. The exaggerated, at times hysterical, quality of such lists, perform the hallucinatory work of displacement and condensation (the Homeric parallel here is the transformation of Odysseus’s men into swine by the witch Circe). Freudian, not to mention Stindberg-ian dream-work brings together and juxtaposes images and details that only make sense as non-sense (realistic but not real), such as the extraordinary explosive gathering of civic, commercial, political, chivalric representatives of Dublin in this foreshortened excerpt of Bloom’s regal campaign for his “new Bloomusalem” (606).The text’s formidable echolalia, whereby motifs recur and recapitulate into leitmotifs, ensures that the act of reading Ulysses is always cross-referential, suggesting the persistence of a conjured world that is always already still coming into being through reading. And it is of course this forestalling of Newton’s Second Law that Joyce brazenly conducts, in both the textual and physical sense, in Finnegans Wake. The Wake is an impossible book in that it infinitely sustains the circulation of words within a closed system, creating a weird feedback loop of cyclical return. It is a text that can run indefinitely through the force of its own momentum without coming to a conclusion. In a text in which the author’s alter ego is described in terms of the technology of inscription (Shem the Penman) and his craft as being a “punsil shapner,” (Joyce, Finnegans 98) Norbert Wiener’s descriptive example of feedback as the forestalling of entropy in the conscious act of picking up a pencil is apt: One we have determined this, our motion proceeds in such a way that we may say roughly that the amount by which the pencil is not yet picked up is decreased at each stage. (Wiener 7) The Wake overcomes the book’s, and indeed writing’s, struggle with entropy through the constant return of energy into its closed system as a cycle of endless return. Its generative algorithm can be represented thus: “… a long the riverrun …” (628-3). The Wake’s sense of unending confounds and contradicts, in advance, Frank Kermode’s averring to Newton’s Second Law in his insistence that the progression of all narrative fiction is defined in terms of the “sense of an ending,” the expectation of a conclusion, whereby the termination of words makes “possible a satisfying consonance with the origins and with the middle” (Kermode 17). It is the realisation of the novel imagined by Silas Flannery, the fictitious author in Italo Calvino’s If on a winter’s night a traveller, an incipit that “maintains for its whole duration the potentiality of the beginning” (Calvino 140). Finnegans Wake is unique in terms of the history of the novel (if that is indeed what it is) in that it is never read, but (as Joseph Frank observed of Joyce generally) “can only be re-read” (Frank 19). With Wiener’s allegory of feedback no doubt in mind, Jacques Derrida’s cybernetic account of the act of reading Joyce comes, like a form of echolalia, on the heels of Calvino’s incipit, his perpetual sustaining of the beginning: you stay on the edge of reading Joyce—for me this has been going on for twenty-five or thirty years—and the endless plunge throws you back onto the river-bank, on the brink of another possible immersion, ad infinitum … In any case, I have the feeling that I haven’t yet begun to read Joyce, and this “not having begun to read” is sometimes the most singular and active relationship I have with his work. (Derrida 148) Derrida wonders if this process of ongoing immersion in the text is typical of all works of literature and not just the Wake. The question is rhetorical and resonates into silence. And it is silence, ultimately, that hovers as a mute herald of the end when words will simply run out.Post(script)It is in the nature of all writing that it is read in the absence of its author. Perhaps the most typical form of writing, then, is the suicide note. In an extraordinary essay, “Goodbye, Cruel Words,” Mark Dery wonders why it has been “so neglected as a literary genre” and promptly sets about reviewing its decisive characteristics. Curiously, the list features amongst its many forms: I’m done with lifeI’m no goodI’m dead. (Dery 262)And references to lists of types of suicide notes are among Dery’s own notes to the essay. With its implicit generic capacity to intransitively add more detail, the list becomes in the light of the terminal letter a condition of writing itself. The irony of this is not lost on Dery as he ponders the impotent stoicism of the scribbler setting about the mordant task of writing for the last time. Writing at the last gasp, as Dery portrays it, is a form of dogged, radical will. But his concluding remarks are reflective of his melancholy attitude to this most desperate act of writing at degree zero: “The awful truth (unthinkable to a writer) is that eloquent suicide notes are rarer than rare because suicide is the moment when language fails—fails to hoist us out of the pit, fails even to express the unbearable weight” (264) of someone on the precipice of the very last word they will ever think, let alone write. Ihab Hassan (1967) and George Steiner (1967), it would seem, were latecomers as proselytisers of the language of silence. But there is a queer, uncanny optimism at work at the terminal moment of writing when, contra Dery, words prevail on the verge of “endless, silent night.” (264) Perhaps when Newton’s Second Law no longer has carriage over mortal life, words take on a weird half-life of their own. Writing, after Socrates, does indeed circulate indiscriminately among its readers. There is a dark irony associated with last words. When life ceases, words continue to have the final say as long as they are read, and in so doing they sustain an unlikely, and in their own way, stoical sense of unending.ReferencesBair, Deirdre. Samuel Beckett: A Biography. London: Jonathan Cape, 1978.Beckett, Samuel. Molloy Malone Dies. The Unnamable. London: John Calder, 1973.---. Watt. London: John Calder, 1976.Borges, Jorge Luis. Labyrinths. Selected Stories & Other Writings. Ed. Donald A. Yates & James E. Irby. New York: New Directions, 1964.Calvino, Italo. If On A Winter’s Night A Traveller. Trans. William Weaver, London: Picador, 1981.Delville, Michael, and Andrew Norris. “Frank Zappa, Captain Beefheart, and the Secret History of Maximalism.” Ed. Louis Armand. Contemporary Poetics: Redefining the Boundaries of Contemporary Poetics, in Theory & Practice, for the Twenty-First Century. Evanston: Northwestern UP, 2007. 126-49.Derrida, Jacques. “Two Words for Joyce.” Post-Structuralist Joyce. Essays from the French. Ed. Derek Attridge and Daniel Ferrer. Cambridge: Cambridge UP, 1984. 145-59.Dery, Mark. I Must Not think Bad Thoughts: Drive-by Essays on American Dread, American Dreams. Minneapolis: U of Minnesota P, 2012.Frank, Joseph, “Spatial Form in Modern Literature.” Sewanee Review, 53, 1945: 221-40, 433-56, 643-53.Flaubert, Gustave. Bouvard and Pécuchet. Trans. A. J. KrailSheimer. Harmondsworth: Penguin, 1976.Flaubert, Gustave. Dictionary of Received Ideas. Trans. A. J. KrailSheimer. Harmondsworth: Penguin, 1976.Hassan, Ihab. The Literature of Silence: Henry Miller and Samuel Beckett. New York: Knopf, 1967.Joyce, James. Finnegans Wake. London: Faber and Faber, 1975.---. Ulysses. Harmondsworth: Penguin, 1992.Kenner, Hugh. The Stoic Comedians. Berkeley: U of California P, 1974.Kermode, Frank. The Sense of an Ending: Studies in the Theory of Narrative Fiction. New York: Oxford U P, 1966.‪Levin, Bernard. Enthusiasms. London: Jonathan Cape, 1983.MacGowran, Jack. MacGowran Speaking Beckett. Claddagh Records, 1966.Pinter, Harold. The Birthday Party. London: Methuen, 1968.Potter, Dennis. The Singing Detective. London, Faber and Faber, 1987.Robbe-Grillet, Alain. Jealousy. Trans. Richard Howard. London: John Calder, 1965.Schwartz, Hillel. Making Noise. From Babel to the Big Bang and Beyond. New York: Zone Books, 2011.Steiner, George. Language and Silence: New York: Atheneum, 1967.Wiener, Norbert. Cybernetics, Or Control and Communication in the Animal and the Machine. Cambridge, Mass.: MIT Press, 1965.

Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems. Cuttack: Vishvanatha Kaviraj Institute, 2020, ISBN: 978-81-943450-3-9, Paperback, pp. viii + 152. Like his earlier collection, The Door is Half Open, Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems has three sections consisting of forty-two poems of varied length and style, a detailed Glossary mainly on the proper nouns from Indian culture and tradition and seven Afterwords from the pens of the trained readers from different countries of four continents. The structure of the book is circular. The first poem “Snapshots” indicates fifteen kaleidoscopic patterns of different moods of life in about fifteen words each. It seems to be a rumination on the variegated images of everyday experiences ranging from individual concerns to spiritual values. Art-wise, they can be called mini-micro-poems as is the last poem of the book. While the character limit in a micro poem is generally 140 (the character limit on Twitter) Susheel has used just around 65 in each of these poems. Naturally, imagery, symbolism and cinematic technique play a great role in this case. In “The End of the Road” the poet depicts his individual experiences particularly changing scenario of the world. He seems to be worried about his eyesight getting weak with the passage of time, simultaneously he contrasts the weakness of his eyesight with the hypocrisy permeating the human life. He compares his diminishing eyesight to Milton and shows his fear as if he will get blind. He changes his spectacles six times to clear his vision and see the plurality of a reality in human life. It is an irony on the changing aspects of human life causing miseries to the humanity. At the end of the poem, the poet admits the huge changes based on the sham principles: “The world has lost its original colour” (4). The concluding lines of the poem make a mockery of the people who are not able to recognise reality in the right perspective. The poem “Durga Puja in 2013” deals with the celebration of the festival “Durga Puja” popular in the Hindu religion. The poet’s urge to be with Ma Durga shows his dedication towards the Goddess Durga, whom he addresses with different names like ‘Mai’, ‘Ma’ and ‘Mother’. He worships her power and expresses deep reverence for annihilating the evil-spirits. The festival Durga Puja also reminds people of victory of the goddess on the elusive demons in the battlefield. “Chasing a Dream on the Ganges” is another poem having spiritual overtones. Similarly, the poem “Akshya Tritya” has religious and spiritual connotations. It reflects curiosity of people for celebration of “Akshya Tritya” with enthusiasm. But the political and economic overtones cannot be ignored as the poem ends with the remarkable comments: The GDP may go up on this day; Even, Budia is able to Eat to his fill; Panditji can blow his Conch shell with full might. Outside, somebody is asking for votes; Somebody is urging others to vote. I shall vote for Akshya Tritya. (65-66) “On Reading Langston Hughes’ ‘Theme for English B’” is a long poem in the collection. In this poem, the poet reveals a learner’s craving for learning, perhaps who comes from an extremely poor background to pursue his dreams of higher education. The poet considers the learner’s plights of early childhood, school education and evolutionary spirit. He associates it with Dronacharya and Eklavya to describe the mythical system of education. He does not want to be burdened with the self-guilt by denying the student to be his ‘guru’ therefore, he accepts the challenge to change his life. Finally, he shows his sympathy towards the learner and decides to be the ‘guru’: “It is better to face/A challenge and change/Than to be burden with a life/Of self-guilt. /I put my signatures on his form willy-nilly” (11). The poem “The Destitute” is an ironical presentation of the modern ways of living seeking pleasure in the exotic locations all over the world. It portrays the life of a person who has to leave his motherland for earning his livelihood, and has to face an irreparable loss affecting moral virtues, lifestyle, health and sometimes resulting in deaths. The poem “The Black Experience” deals with the suppression of the Africans by the white people. The poem “Me, A Black Doxy”, perhaps points out the dilemma of a black woman whether she should prostitute herself or not, to earn her livelihood. Perhaps, her deep consciousness about her self-esteem does not allow her to indulge in it but she thinks that she is not alone in objectifying herself for money in the street. Her voice resonates repeatedly with the guilt of her indulgence on the filthy streets: At the dining time Me not alone? In the crowded street Me not alone? They ’ave white, grey, pink hair Me ’ave black hair – me not alone There’s a crowd with black hair. Me ’ave no black money Me not alone? (14) The poem “Thus Spake a Woman” is structured in five sections having expressions of the different aspects of a woman’s love designs. It depicts a woman’s dreams and her attraction towards her lover. The auditory images like “strings of a violin”, “music of the violin” and “clinch in my fist” multiply intensity of her feelings. With development of the poem, her dreams seem to be shattered and sadness know the doors of her dreamland. Finally, she is confronted with sadness and is taken back to the past memories reminding her of the difficult situations she had faced. Replete with poetic irony, “Bubli Poems” presents the journey of a female, who, from the formative years of her life to womanhood, experienced gender stereotypes, biased sociocultural practices, and ephemeral happiness on the faces of other girls around her. The poem showcases the transformation of a village girl into a New Woman, who dreams her existence in all types of luxurious belongings rather than identifying her independent existence and finding out her own ways of living. Her dreams lead her to social mobility through education, friendships, and the freedom that she gains from her parents, family, society and culture. She attempts her luck in the different walks of human life, particularly singing and dancing and imagines her social status and wide popularity similar to those of the famous Indian actresses viz. Katrina and Madhuri Dixit: “One day Bubli was standing before the mirror/Putting on a jeans and jacket and shaking her hips/She was trying to be a local Katrina” (41). She readily bears the freakish behaviour of the rustic/uncultured lads, derogatory comments, and physical assaults in order to fulfil her expectations and achieves her individual freedom. Having enjoyed all the worldly happiness and fashionable life, ultimately, she is confronted with the evils designs around her which make her worried, as if she is ignorant of the world replete with the evils and agonies: “Bubli was ignorant of her agony and the lost calm” (42). The examples of direct poetic irony and ironic expressions of the socio-cultural evils, and the different governing bodies globally, are explicit in this poem: “Bubli is a leader/What though if a cheerleader./The news makes her family happy.”(40), “Others were blaming the Vice-Chancellor/ Some others the system;/ Some the freedom given to girls;”(45), and “Some blame poverty; some the IMF;/ Some the UN; some the environment;/ Some the arms race; some the crony’s lust;/ Some the US’s craving for power;/Some the UK’s greed. (46-47). Finally, Bubli finds that her imaginative world is fragile. She gives up her corporeal dreams which have taken the peace of her mind away. She yearns for shelter in the temples and churches and surrenders herself before deities praying for her liberation: “Jai Kali,/ Jai Mahakali, Jai Ma, Jai Jagaddhatri,/ Save me, save the world.” (47). In the poem “The Unlucky”, the poet jibes at those who are lethargic in reading. He identifies four kinds of readers and places himself in the fourth category by rating himself a ‘poor’ reader. The first three categories remind the readers of William Shakespeare’s statement “Some are born great, some achieve greatness, and some have greatness thrust upon them.” At the end of the poem, the poet questions himself for being a poet and teacher. The question itself reflects on his ironic presentation of himself as a poor reader because a poet’s wisdom is compared with that of the philosopher and everybody worships and bows before a teacher, a “guru”, in the Indian tradition. The poet is considered the embodiment of both. The poet’s unfulfilled wish to have been born in Prayagraj is indexed with compunction when the poem ends with the question “Why was I not born in Prayagraj?” (52). Ending with a question mark, the last line of the poem expresses his desire for perfection. The next poem, “Saying Goodbye”, is elegiac in tone and has an allusion to Thomas Gray’s “The Elegy Written in a Country Churchyard” in the line “When the curfew tolls the knell of the parting day”; it ends with a question mark. The poem seems to be a depiction of the essence and immortality of ‘time’. Reflecting on the poet’s consideration of the power and beauty of ‘time’, Pradeep Kumar Patra rightly points out, “It is such a phenomena that nobody can turn away from it. The moment is both beautiful as well as ferocious. It beautifies and showcases everything and at the same time pulls everything down when necessary” (146). Apparently, the poem “The Kerala Flood 2018”is an expression of emotions at the disaster caused by the flood in 2018. By reminding of Gandhi’s tenets to be followed by people for the sake of morality and humankind, the poet makes an implicit criticism of the pretentions, and violation of pledges made by people to care of other beings, particularly, cow that is worshiped as “mother” and is considered to be a symbol of fertility, peace and holiness in Hinduism as well as the Buddhist culture. The poet also denigrates people who deliberately ignore the sanctity of the human life in Hinduism and slaughter the animal cow to satisfy their appetites. In the poem, the carnivorous are criticized explicitly, but those who pretend to be herbivorous are decried as shams: If a cow is sacrosanct And people eat beef One has to take a side. Some of the friends chose to Side with cow and others With the beef-eaters. Some were more human They chose both. (55) The poet infuses positivity into the minds of the Indian people. Perhaps, he thinks that, for Indians, poverty, ignorance, dirt and mud are not taboos as if they are habitual to forbear evils by their instincts. They readily accept them and live their lives happily with pride considering their deity as the preserver of their lives. The poem “A Family by the Road” is an example of such beliefs, in which the poet lavishes most of his poetic depiction on the significance of the Lord Shiva, the preserver of people in Hinduism: Let me enjoy my freedom. I am proud of my poverty. I am proud of my ignorance. I am proud of my dirt. I have a home because of these. I am proud of my home. My future is writ on the walls Of your houses My family shall stay in the mud. After all, somebody is needed To clean the dirt as well. I am Shiva, Shivoham. (73) In the poem “Kabir’s Chadar”, the poet invokes several virtues to back up his faith in spirituality and simplicity. He draws a line of merit and virtue between Kabir’s Chadar which is ‘white’ and his own which is “thickly woven” and “Patterned with various beautiful designs/ In dark but shining colours” (50). The poet expresses his views on Kabir’s ‘white’ Chadar symbolically to inculcate the sense of purity, fortitude, spirituality, and righteousness among people. The purpose of his direct comparison between them is to refute artificiality, guilt and evil intents of humanity, and propagate spiritual purity, the stark simplicities of our old way of life, and follow the patience of a saint like Kabir. The poem “Distancing” is a statement of poetic irony on the city having two different names known as Bombay and Mumbai. The poet sneers at its existence in Atlas. Although the poet portraits the historical events jeering at the distancing between the two cities as if they are really different, yet the poet’s prophetic anticipation about the spread of the COVID-19 in India cannot be denied prima facie. The poet’s overwhelming opinions on the overcrowded city of Bombay warn humankind to rescue their lives. Even though the poem seems to have individual expressions of the poet, leaves a message of distancing to be understood by the people for their safety against the uneven things. The poem “Crowded Locals” seems to be a sequel to the poem “Distancing”. Although the poet’s purpose, and appeal to the commonplace for distancing cannot be affirmed by the readers yet his remarks on the overcrowded cities like in Mumbai (“Crowded Locals”), foresee some risk to the humankind. In the poem “Crowded Locals”, he details the mobility of people from one place to another, having dreams in their eyes and puzzles in their minds for their livelihood while feeling insecure especially, pickpockets, thieves and strangers. The poet also makes sneering comments on the body odour of people travelling in first class. However, these two poems have become a novel contribution for social distancing to fight against the COVID-19. In the poem “Buy Books, Not Diamonds” the poet makes an ironical interpretation of social anarchy, political upheaval, and threat of violence. In this poem, the poet vies attention of the readers towards the socio-cultural anarchy, especially, anarchy falls on the academic institutions in the western countries where capitalism, aristocracy, dictatorship have armed children not with books which inculcate human values but with rifles which create fear and cause violence resulting in deaths. The poet’s perplexed opinions find manifestation in such a way as if books have been replaced with diamonds and guns, therefore, human values are on the verge of collapse: “Nine radiant diamonds are no match/ To the redness of the queen of spades. . . . / … holding/ Rifles is a better option than/ Hawking groundnuts on the streets?” (67).The poet also decries the spread of austere religious practices and jihadist movement like Boko Haram, powerful personalities, regulatory bodies and religious persons: “Boko Haram has come/Obama has also come/The UN has come/Even John has come with/Various kinds of ointments” (67). The poem “Lost Childhood” seems to be a memoir in which the poet compares the early life of an orphan with the child who enjoys early years of their lives under the safety of their parents. Similarly, the theme of the poem “Hands” deals with the poet’s past experiences of the lifestyle and its comparison to the present generation. The poet’s deep reverence for his parents reveals his clear understanding of the ways of living and human values. He seems to be very grateful to his father as if he wants to make his life peaceful by reading the lines of his palms: “I need to read the lines in his palm” (70). In the poem “A Gush of Wind”, the poet deliberates on the role of Nature in our lives. The poem is divided into three sections, perhaps developing in three different forms of the wind viz. air, storm, and breeze respectively. It is structured around the significance of the Nature. In the first section, the poet lays emphasis on the air we breathe and keep ourselves fresh as if it is a panacea. The poet criticizes artificial and material things like AC. In the second section, he depicts the stormy nature of the wind scattering papers, making the bed sheets dusty affecting or breaking the different types of fragile and luxurious objects like Italian carpets and lamp shades with its strong blow entering the oriels and window panes of the houses. Apparently, the poem may be an individual expression, but it seems to be a caricature on the majesty of the rich people who ignore the use of eco-chic objects and disobey the Nature’s behest. In the third and the last section of the poem, the poet’s tone is critical towards Whitman, Pushkin and Ginsberg for their pseudoscientific philosophy of adherence to the Nature. Finally, he opens himself to enjoy the wind fearlessly. The poems like “A Voice” , “The New Year Dawn”, “The New Age”, “The World in Words in 2015”, “A Pond Nearby”, “Wearing the Scarlet Letter ‘A’”, “A Mock Drill”, “Strutting Around”, “Sahibs, Snobs, Sinners”, “Endless Wait”, “The Soul with a New Hat”, “Renewed Hope”, “Like Father, Unlike Son”, “Hands”, “Rechristening the City”, “Coffee”, “The Unborn Poem”, “The Fountain Square”, “Ram Setu”, and “Connaught Place” touch upon the different themes. These poems reveal poet’s creativity and unique features of his poetic arts and crafts. The last poem of the collection “Stories from the Mahabharata” is written in twenty-five stanzas consisting of three lines each. Each stanza either describes a scene or narrates a story from the Mahabharata, the source of the poem. Every stanza has an independent action verb to describe the actions of different characters drawn from the Mahabharata. Thus, each stanza is a complete miniscule poem in itself which seems to be a remarkable characteristic of the poem. It is an exquisite example of ‘Micro-poetry’ on paper, remarkable for its brevity, dexterity and intensity. The poet’s conscious and brilliant reframing of the stories in his poem sets an example of a new type of ‘Found Poetry’ for his readers. Although the poet’s use of various types images—natural, comic, tragic, childhood, horticultural, retains the attention of readers yet the abundant evidences of anaphora reflect redundancy and affect the readers’ concentration and diminishes their mental perception, for examples, pronouns ‘her’ and ‘we’ in a very small poem “Lost Childhood”, articles ‘the’ and ‘all’ in “Crowded Locals”, the phrase ‘I am proud of’ in “A Family by the Road” occur many times. Svitlana Buchatska’s concise but evaluative views in her Afterword to Unwinding Self help the readers to catch hold of the poet’s depiction of his emotions. She writes, “Being a keen observer of life he vividly depicts people’s life, traditions and emotions involving us into their rich spiritual world. His poems are the reflection on the Master’s world of values, love to his family, friends, students and what is more, to his beloved India. Thus, the author reveals all his beliefs, attitudes, myths and allusions which are the patterns used by the Indian poets” (150). W. H. Auden defines poetry as “the clear expression of mixed feelings.” It seems so true of Susheel Sharma’s Unwinding Self. It is a mixture of poems that touch upon the different aspects of human life. It can be averred that the collection consists of the poet’s seamless efforts to delve into the various domains of the human life and spot for the different places as well. It is a poetic revue in verse in which the poet instils energy, confidence, power and enthusiasm into minds of Indian people and touches upon all aspects of their lives. The poverty, ignorance, dirt, mud, daily struggle against liars, thieves, pickpockets, touts, politician and darkness have been depicted not as weaknesses of people in Indian culture but their strengths, because they have courage to overcome darkness and see the advent of a new era. The poems teach people morality, guide them to relive their pains and lead them to their salvation. Patricia Prime’s opinion is remarkable: “Sharma writes about his family, men and women, childhood, identity, roots and rootlessness, memory and loss, dreams and interactions with nature and place. His poised, articulate poems are remarkable for their wit, conversational tone and insight” (138). Through the poems in the collection, the poet dovetails the niceties of the Indian culture, and communicates its beauty and uniqueness meticulously. The language of the poem is lucid, elevated and eloquent. The poet’s use of diction seems to be very simple and colloquial like that of an inspiring teacher. On the whole the book is more than just a collection of poems as it teaches the readers a lot about the world around them through a detailed Glossary appended soon after the poems in the collection. It provides supplementary information about the terms used abundantly in Indian scriptures, myths, and other religious and academic writings. The Glossary, therefore, plays pivotal role in unfolding the layers of meaning and reaching the hearts of the global readers. The “Afterwords” appended at the end, enhances readability of poems and displays worldwide acceptability, intelligibility, and popularity of the poet. The Afterwords are a good example of authentic Formalistic criticism and New Criticism. They indirectly teach a formative reader and critic the importance of forming one’s opinion, direct reading and writing without any crutches of the critics.

Introduction Mentors play a role in real life, just as they do in fiction. They also feature in reality television, which sits somewhere between the two. In fiction, mentors contribute to the narrative arc by providing guidance and assistance (Vogler 12) to a mentee in his or her life or professional pursuits. These exchanges are usually characterized by reciprocity, the need for mutual recognition (Gadamer 353) and involve some kind of moral question. They dramatise the possibilities of mentoring in reality, to provide us with a greater understanding of the world, and our human interaction within it. Reality television offers a different perspective. Like drama it uses the plot device of a mentor character to heighten the story arc, but instead of focusing on knowledge-based portrayals (Gadamer 112) of the mentor and mentee, the emphasis is instead on the mentee’s quest for ascension. In attempting to transcend their unknownness (Boorstin) contestants aim to penetrate an exclusive creative class (Florida). Populated by celebrity chefs, businessmen, entertainers, fashionistas, models, socialites and talent judges (to name a few), this class seemingly adds authenticity to ‘competitions’ and other formats. While the mentor’s role, on the surface, is to provide divine knowledge and facilitate the journey, a different agenda is evident in the ways carefully scripted (Booth) dialogue heightens the drama through effusive praise (New York Daily News) and “tactless” (Woodward), humiliating (Hirschorn; Winant 69; Woodward) and cruel sentiments. From a screen narrative point of view, this takes reality television as ‘storytelling’ (Aggarwal; Day; Hirschorn; “Reality Writer”; Rupel; Stradal) into very different territory. The contrived and later edited (Crouch; Papacharissi and Mendelson 367) communication between mentor and mentee not only renders the relationship disingenuous, it compounds the primary ethical concerns of associated Schadenfreude (Balasubramanian, Forstie and van den Scott 434; Cartwright), and the severe financial inequality (Andrejevic) underpinning a multi-billion dollar industry (Hamilton). As upward mobility and instability continue to be ubiquitously portrayed in 21st century reality entertainment under neoliberalism (Sender 4; Winant 67), it is with increasing frequency that we are seeing the systematic reinvention of the once significant cultural and historical role of the mentor. Mentor as Fictional Archetype and Communicator of ThemesDepictions of mentors can be found across the Western art canon. From the mythological characters of Telemachus’ Athena and Achilles’ Chiron, to King Arthur’s Merlin, Cinderella’s Fairy Godmother, Jim Hawkins’ Long John Silver, Frodo’s Gandalf, Batman’s Alfred and Marty McFly’s Doc Emmett Brown (among many more), the dramatic energy of the teacher, expert or supernatural aid (Vogler 39) has been timelessly powerful. Heroes, typically, engage with a mentor as part of their journey. Mentor types range extensively, from those who provide motivation, inspiration, training or gifts (Vogler), to those who may be dark or malevolent, or have fallen from grace (such as Michael Douglas’ Gordon Gekko in Wall Street 1987, or the ex-tribute Haymitch in The Hunger Games, 2012). A good drama usually complicates the relationship in some way, exploring initial reluctance from either party, or instances of tragedy (Vogler 11, 44) which may prevent the relationship achieving its potential. The intriguing twist of a fallen or malevolent mentor additionally invites the audience to morally analyze the ways the hero responds to what the mentor provides, and to question what our teachers or superiors tell us. In television particularly, long running series such as Mad Men have shown how a mentoring relationship can change over time, where “non-rational” characters (Buzzanell and D’Enbeau 707) do not necessarily maintain reciprocity or equality (703) but become subject to intimate, ambivalent and erotic aspects.As the mentor in fiction has deep cultural roots for audiences today, it is no wonder they are used, in a variety of archetypal capacities, in reality television. The dark Simon Cowell (of Pop Idol, American Idol, Britain’s Got Talent, America’s Got Talent and The X-Factor series) and the ‘villainous’ (Byrnes) Michelin-starred Marco Pierre White (Hell’s Kitchen, The Chopping Block, Marco Pierre White’s Kitchen Wars, MasterChef Australia, New Zealand, South Africa) provide reality writers with much needed antagonism (Rupel, Stradal). Those who have fallen from grace, or allowed their personal lives to play out in tabloid sagas such as Britney Spears (Marikar), or Caitlyn Jenner (Bissinger) provide different sources of conflict and intrigue. They are then counterbalanced with or repackaged as the good mentor. Examples of the nurturer who shows "compassion and empathy" include American Idol’s Paula Abdul (Marche), or the supportive Jennifer Hawkins in Next Top Model (Thompson). These distinctive characters help audiences to understand the ‘reality’ as a story (Crouch; Rupel; Stradal). But when we consider the great mentors of screen fiction, it becomes clear how reality television has changed the nature of story. The Karate Kid I (1984) and Good Will Hunting (1998) are two examples where mentoring is almost the exclusive focus, and where the experience of the characters differs greatly. In both films an initially reluctant mentor becomes deeply involved in the mentee’s project. They act as a special companion to the hero in the face of isolation, and, significantly, reveal a tragedy of their own, providing a nexus through which the mentee can access a deeper kind of truth. Not only are they flawed and ordinary people (they are not celebrities within the imagined worlds of the stories) who the mentee must challenge and learn to truly respect, they are “effecting and important” (Maslin) in reminding audiences of those hidden idiosyncrasies that open the barriers to friendship. Mentors in these stories, and many others, communicate themes of class, culture, talent, jealousy, love and loss which inform ideas about the ethical treatment of the ‘other’ (Gadamer). They ultimately prove pivotal to self worth, human confidence and growth. Very little of this thematic substance survives in reality television (see comparison of plots and contrasting modes of human engagement in the example of The Office and Dirty Jobs, Winant 70). Archetypally identifiable as they may be, mean judges and empathetic supermodels as characters are concerned mostly with the embodiment of perfection. They are flawless, untouchable and indeed most powerful when human welfare is at stake, and when the mentee before them faces isolation (see promise to a future ‘Rihanna’, X-Factor USA, Season 2, Episode 1 and Tyra Banks’ Next Top Model tirade at a contestant who had not lived up to her potential, West). If connecting with a mentor in fiction has long signified the importance of understanding of the past, of handing down tradition (Gadamer 354), and of our fascination with the elder, wiser other, then we can see a fundamental shift in narrative representation of mentors in reality television stories. In the past, as we have opened our hearts to such characters, as a facilitator to or companion of the hero, we have rehearsed a sacred respect for the knowledge and fulfillment mentors can provide. In reality television the ‘drama’ may evoke a fleeting rush of excitement at the hero’s success or failure, but the reality belies a pronounced distancing between mentor and mentee. The Creative Class: An Aspirational ParadigmThemes of ascension and potential fulfillment are also central to modern creativity discourse (Runco; Runco 672; United Nations). Seen as the driving force of the 21st century, creativity is now understood as much more than art, capable of bringing economic prosperity (United Nations) and social cohesion to its acme (United Nations xxiii). At the upper end of creative practice, is what Florida called “the creative class: a fast growing, highly educated, and well-paid segment of the workforce” (on whose expertise corporate profits depend), in industries ranging “from technology to entertainment, journalism to finance, high-end manufacturing to the arts” (Florida). Their common ethos is centered on individuality, diversity, and merit; eclipsing previous systems focused on ‘shopping’ and theme park consumerism and social conservatism (Eisinger). While doubts have since been raised about the size (Eisinger) and financial practices (Krätke 838) of the creative class (particularly in America), from an entertainment perspective at least, the class can be seen in full action. Extending to rich housewives, celebrity teen mothers and even eccentric duck hunters and swamp people, the creative class has caught up to the more traditional ‘star’ actor or music artist, and is increasingly marketable within world’s most sought after and expensive media spaces. Often reality celebrities make their mark for being the most outrageous, the cruelest (Peyser), or the weirdest (Gallagher; Peyser) personalities in the spotlight. Aspiring to the creative class thus, is a very public affair in television. Willing participants scamper for positions on shows, particularly those with long running, heavyweight titles such as Big Brother, The Bachelor, Survivor and the Idol series (Hill 35). The better known formats provide high visibility, with the opportunity to perform in front of millions around the globe (Frere-Jones, Day). Tapping into the deeply ingrained upward-mobility rhetoric of America, and of Western society, shows are aided in large part by 24-hour news, social media, the proliferation of celebrity gossip and the successful correlation between pop culture and an entertainment-style democratic ideal. As some have noted, dramatized reality is closely tied to the rise of individualization, and trans-national capitalism (Darling-Wolf 127). Its creative dynamism indeed delivers multi-lateral benefits: audiences believe the road to fame and fortune is always just within reach, consumerism thrives, and, politically, themes of liberty, egalitarianism and freedom ‘provide a cushioning comfort’ (Peyser; Pinter) from the domestic and international ills that would otherwise dispel such optimism. As the trials and tests within the reality genre heighten the seriousness of, and excitement about ascending toward the creative elite, show creators reproduce the same upward-mobility themed narrative across formats all over the world. The artifice is further supported by the festival-like (Grodin 46) symbology of the live audience, mass viewership and the online voting community, which in economic terms, speaks to the creative power of the material. Whether through careful manipulation of extra media space, ‘game strategy’, or other devices, those who break through are even more idolized for the achievement of metamorphosing into a creative hero. For the creative elite however, who wins ‘doesn’t matter much’. Vertical integration is the priority, where the process of making contestants famous is as lucrative as the profits they will earn thereafter; it’s a form of “one-stop shopping” as the makers of Idol put it according to Frere-Jones. Furthermore, as Florida’s measures and indicators suggested, the geographically mobile new creative class is driven by lifestyle values, recreation, participatory culture and diversity. Reality shows are the embodiment this idea of creativity, taking us beyond stale police procedural dramas (Hirschorn) and racially typecast family sitcoms, into a world of possibility. From a social equality perspective, while there has been a notable rise in gay and transgender visibility (Gamson) and stories about lower socio-economic groups – fast food workers and machinists for example – are told in a way they never were before, the extent to which shows actually unhinge traditional power structures is, as scholars have noted (Andrejevic and Colby 197; Schroeder) open to question. As boundaries are nonetheless crossed in the age of neoliberal creativity, the aspirational paradigm of joining a new elite in real life is as potent as ever. Reality Television’s Mentors: How to Understand Their ‘Role’Reality television narratives rely heavily on the juxtaposition between celebrity glamour and comfort, and financial instability. As mentees put it ‘all on the line’, storylines about personal suffering are hyped and molded for maximum emotional impact. In the best case scenarios mentors such as Caitlyn Jenner will help a trans mentee discover their true self by directing them in a celebrity-style photo shoot (see episode featuring Caitlyn and Zeam, Logo TV 2015). In more extreme cases the focus will be on an adopted contestant’s hopes that his birth mother will hear him sing (The X Factor USA, Season 2, Episode 11 Part 1), or on a postal clerk’s fear that elimination will mean she has to go back “to selling stamps” (The X Factor US - Season 2 Episode 11 Part 2). In the entrepreneurship format, as Woodward pointed out, it is not ‘help’ that mentees are given, but condescension. “I have to tell you, my friend, that this is the worst idea I’ve ever heard. You don’t have a clue about how to set up a business or market a product,” Woodward noted as the feedback given by one elite businessman on The Shark Tank (Woodward). “This is a five million dollar contract and I have to know that you can go the distance” (The X Factor US – Season 2 Episode 11, Part 1) Britney Spears warned to a thirteen-year-old contestant before accepting her as part of her team. In each instance the fictitious premise of being either an ‘enabler’ or destroyer of dreams is replayed and slightly adapted for ongoing consumer interest. This lack of shared experience and mutual recognition in reality television also highlights the overt, yet rarely analyzed focus on the wealth of mentors as contrasted with their unstable mentees. In the respective cases of The X Factor and I Am Cait, one of the wealthiest moguls in entertainment, Cowell, reportedly contracts mentors for up to $15 million per season (Nair); Jenner’s performance in I Am Cait was also set to significantly boost the Kardashian empire (reportedly already worth $300 million, Pavia). In both series, significant screen time has been dedicated to showing the mentors in luxurious beachside houses, where mentees may visit. Despite the important social messages embedded in Caitlyn’s story (which no doubt nourishes the Kardashian family’s generally more ersatz material), the question, from a moral point of view becomes: would these mentors still interact with that particular mentee without the money? Regardless, reality participants insist they are fulfilling their dreams when they appear. Despite the preplanning, possibility of distress (Australia Network News; Bleasby) and even suicide (Schuster), as well as the ferocity of opinion surrounding shows (Marche) the parade of a type of ‘road of trials’ (Vogler 189) is enough to keep a huge fan base interested, and hungry for their turn to experience the fortune of being touched by the creative elite; or in narrative terms, a supernatural aid. ConclusionThe key differences between reality television and artistic narrative portrayals of mentors can be found in the use of archetypes for narrative conflict and resolution, in the ways themes are explored and the ways dialogue is put to use, and in the focus on and visibility of material wealth (Frere-Jones; Peyser). These differences highlight the political, cultural and social implications of exchanging stories about potential fulfillment, for stories about ascension to the creative class. Rather than being based on genuine reciprocity, and understanding of human issues, reality shows create drama around the desperation to penetrate the inner sanctum of celebrity fame and fortune. In fiction we see themes based on becoming famous, on gender transformation, and wealth acquisition, such as in the films and series Almost Famous (2000), The Bill Silvers Show (1955-1959), Filthy Rich (1982-1983), and Tootsie (1982), but these stories at least attempt to address a moral question. Critically, in an artistic - rather than commercial context – the actors (who may play mentees) are not at risk of exploitation (Australia Network News; Bleasby; Crouch). Where actors are paid and recognized creatively for their contribution to an artistic work (Rupel), the mentee in reality television has no involvement in the ways action may be set up for maximum voyeuristic enjoyment, or manipulated to enhance scandalous and salacious content which will return show and media profits (“Reality Show Fights”; Skeggs and Wood 64). The emphasis, ironically, from a reality production point of view, is wholly on making the audience believe (Papacharissi and Mendelson 367) that the content is realistic. 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The sixth chapter likens the Haitian Revolution to a cockfight and begins to question Toussaint Louverture’s uses of power. By January 26, 1801 Toussaint has become the dominant cock, largely due to his huge political organization in the Northern provinces. A hint of reproach echoes in the discourse of narrator Grinn Prominnin because of the unacknowledged debt owed by Toussaint to the masses of formerly enslaved people who participated in the Revolution. At this point the black rebels were often insufficiently armed or were pitted against one another. Some fought for personal interests, others on more general terms; the result was a weakened position. Their advantage lay in their sheer numbers and common determination to become free. In 1793 Toussaint tapped into this energy by declaring the goal of universal freedom and liberty for Saint-Domingue, a political and tactical move that assured the former enslaved people’s loyalty to him. Once his organization solidified, he allied himself with French forces, against the Spanish and British (on whose side other rebel leaders were fighting). By 1795, Spain was defeated, and Saint-Domingue was controlled by three sectors: the new French political commissioner (Lavaud), the freedmen (Vilatte, Beauvais, and Rigaud), and Toussaint’s army. Major contradictions—economic, political, and military—divided the masses from the leaders in the latter group; often the former enslaved people were forced to work the land for the benefit of the revolutionary generals. Meanwhile, both inside and outside of Saint-Domingue, people began to distrust the paper money issued by the revolutionary state, and its value decreased. The war in the South took form, with Toussaint positioned against Rigaud. France’s third civil commissioner, Sonthonax, arrived in 1796 and was determined to crush the British and the mulatto generals’ troops. Sonthonax named Toussaint the leading general and Rigaud an outlaw. But Toussaint had Sonthonax expelled from Saint-Domingue the following year due to their several disagreements (including the fact that Sonthonax promoted Moyse Louverture to the rank of general, passing over several other leaders in Toussaint’s army). Meanwhile, in France, the political situation was becoming more conservative, and Toussaint feared that the former colonists would return to seize their property. In a dog-eat-dog society, every class has economic, political, and ideological interests; the freedmen and newly freed slaves were at odds. Toussaint subsequently repulsed Hédouville (who was sent by France as an agent of the Directory, charged with implementing reforms) and fought a vicious war in the South against Rigaud, the dominant mulatto general, thus deepening the racial divisions in the general population. Although Rigaud took a racial approach himself, Toussaint’s demagogy encouraged this social poison to pit the masses of formerly enslaved people against the mixed-race people, a problem reflecting Haiti’s hereditary ideological disease. Toussaint’s primary interests were commerce, money and the trappings of power. So intent was Toussaint on keeping Saint-Domingue afloat economically that he imposed strictures on the formerly enslaved people through a “rural work code,” forcing them to either remain on the same plantations where they had previously toiled or face severe punishment (including death). The idea of “freedom for all” thus began to lose its meaning. England and the United States began to exert pressure on Saint-Domingue as well. Before the War of the South between Toussaint and Rigaud, blacks and mixed-race people were allied against France, but afterwards each group sought its own type of Haitian independence. The beginning of the end of Toussaint’s power came about when the rebel leader fell into the Rigaud’s trap in the afè Koray [Corail Affair]; he nevertheless continued to fight for several more years. Toussaint’s leadership style moved to demagogy, and after 1799, plots mushroomed everywhere against him. The other rebel general, Jean-Jacques Dessalines, did not play upon social tensions in the same way that Toussaint did: instead of using race as a wedge issue, he allowed a group of mixed race people to join the rebel army, which raised everyone’s spirits and frightened the enemy. Toussaint’s organization was closer to the interests of the masses than Rigaud’s. With Dessalines, he convinced several maroon groups to fight against Rigaud; Dessalines won the South soon afterwards. The war of the South helped advance the larger revolution in Saint-Domingue. Once Rigaud was defeated, Toussaint was the only serious cock in the former colony. Freedom for everyone was the main interest of his organization, and he unified the country around it; Dessalines and Pétion ultimately worked together to help repulse Leclerc’s invasion of 1802. The freedmen’s advantage was blunted before they could take advantage of others. The former slaves grew stronger as a result. Despite Toussaint’s demagogy, the revolution was holding strong; though Toussaint still occupied a position of authority, there remained many contradictions in his camp.

With this chapter, the book returns to a chronological structure, following the revolt from around 5 June, when Étienne Marcel’s army probably marched out of Paris to join the Jacques, to the rebels’ double defeats at Meaux and near Mello on 9–10 June. It follows the progress of the Parisian army from Saint-Denis toward Meaux and its leaders’ divisive efforts to punish the reformers’ enemies and to press villagers into service along the way. A new telling of the famous battle at Meaux, where a few dozen noblemen defeated hundreds of commoners, comprises the second section. The latter half of the chapter covers the Jacques’ defeat near Mello and Clermont at the hands of Charles of Navarre. It explains how the battle unfolded, as well as how Charles of Navarre came to be the fatal enemy of the Jacques despite being the ally of the Jacques’ allies in Paris and other cities. Here, again, it is demonstrated that the revolt’s participants had heterogenous, and sometimes conflicting, programmes and that their relationships and objectives shifted over time in response to changing events.