
In the words of critic Ramsey Scott, “Bellamy asks us: how can sloppiness become an intellectual stance, a methodology with its own aesthetic and political priorities? How might a permeable editorial screen that allows for error, parataxis, and the non sequitur serve as the basis for a hybrid kind of writing that is at once critical and autobiographical, factual and fictional? What does it mean to insist upon the disorderly as a means of cultural critique and political engagement?
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