Catastrophic Historicism shows that historicism is a transcendental ontology that must be challenged by endangering the reduction of the past to a possession. The book then endangers the historicist reception of Julia de Burgos, Puerto Rico's most iconic writer, interpreting her work as the poetics of Puerto Rican modernity.
"The book makes Puerto Rican literary history tremble. By desedimenting the metaphysical ground of historicism's cosmo-poietics, openings emerge for rereading the canonical poet Julia de Burgos. I can think of nothing more difficult and faithful--as a scholar--than the reading procedure of danger, which confronts incalculable vulnerability."--Ren Ellis Neyra, Wesleyan University
"Moving with passionate fluency between close reading, historical desedimentation, and conceptual articulation,
Catastrophic Historicism recovers beneath the legend of Julia de Burgos the problem she inscribed in her own verse: that of the proper name itself. This brilliant work of literary theory shows us how deeply we need to think in order to grasp anew the dangerous sense of all the names of literary history.--
Nathan Brown, Concordia University
Catastrophic Historicism unsettles the historicist constitution of Julia de Burgos (1914-53), Puerto Rico's most iconic writer--a critical task that necessitates redefining the concept of historicism. Through readings of Aristotle, Walter Benjamin, Jacques Derrida, Werner Hamacher, and Frank Ankersmit, Mendoza-de Jesús shows that historicism grounds historical objectivity in the historian's capacity to compose totalizing narratives that domesticate the contingency of the past. While critiques of historicism as a realism leave untouched the sovereignty of the historian, the book insists that
reading the text of history requires an attunement to
danger--a modality that interrupts historicism by infusing the past with a contingency that evades total appropriation.
After desedimenting the monumental tradition that has reduced de Burgos to a totemic figure,
Catastrophic Historicism reads the poet's first collection,
Poema en 20 surcos (1938). Mendoza-de Jesús argues that the historicity of
Poema crystallizes in the lyrical speaker's self-institution as an embodied ipseity, which requires producing racialized/gendered allegorical figures--the bearers of an abject flesh--that lack any ontological resistance to modern alienation. Rather than treating de Burgos's poetics of selfhood as the ideal image of Puerto Rican sovereignty, Mendoza-de Jesús endangers this idealization by drawing attention to the abjection that sustains our attachments to ipseity as the form of a truly sovereign life. In this way,
Catastrophic Historicism not only resets the terms of ongoing critiques of historicism in the humanities--it also intervenes in Puerto Rican historicity for the sake of its transformation.
Ronald Mendoza-de Jesús is Assistant Professor of Spanish and Comparative Literature at the University of Southern California.
