_The Promise of Happiness_ is a provocative cultural critique of the imperative to be happy. It asks what follows when we make our desires and even our own happiness conditional on the happiness of others: “I just want you to be happy”; “I’m happy if you’re happy.” Combining philosophy and feminist cultural studies, Sara Ahmed reveals the affective and moral work performed by the “happiness duty,” the expectation that we will be made happy by taking part in that which is (...) deemed good, and that by being happy ourselves, we will make others happy. Ahmed maintains that happiness is a promise that directs us toward certain life choices and away from others. Happiness is promised to those willing to live their lives in the right way. Ahmed draws on the intellectual history of happiness, from classical accounts of ethics as the good life, through seventeenth-century writings on affect and the passions, eighteenth-century debates on virtue and education, and nineteenth-century utilitarianism. She engages with feminist, antiracist, and queer critics who have shown how happiness is used to justify social oppression, and how challenging oppression causes unhappiness. Reading novels and films including_ Mrs. Dalloway_, _The Well of Loneliness_, _Bend It Like Beckham_, and _Children of Men_, Ahmed considers the plight of the figures who challenge and are challenged by the attribution of happiness to particular objects or social ideals: the feminist killjoy, the unhappy queer, the angry black woman, and the melancholic migrant. Through her readings she raises critical questions about the moral order imposed by the injunction to be happy. (shrink)

Suggests an open system of psychological exploration to cut through accepted norms of morality, language, and politics.

I argue that the lived experience of disabled people should be validated instead of a facile categorization. Thus far, a disabled sensibility is reduced to a categorical interpretation. Through my examination of a theoretical performance I illustrate how a disabled/able persona negates a disabled sensibility and allows an audience to experience the exotic disabled without examining their own `ableism'. Sobchack's and Clark's examinations demonstrate how both the techno-body and the cyberbody continue to devalue a disabled embodiment and sensibility. In the (...) final section of the article I explore how Deleuze's concept of `difference in itself' can free disabled people from the concepts of identity, hierarchy, representation and categorization that have been employed to devalue their embodiment and sensibility. Moreover, I believe that Deleuze's alternative theory of `difference in itself' can validate a disabled embodiment and sensibility. (shrink)

Donna Haraway's enduring question—“Why should our bodies end at the skin?” —is ever more relevant in the postmodern era, where issues of bodies, boundaries, and technologies increasingly challenge not only the normative performance of the human subject, but also the very understanding of what counts as human. Critical Disability Studies has taken up the problematic of technology, particularly in relation to the deployment of prostheses by people with disabilities. Yet rehabilitation to normative practice or appearance is no longer the point; (...) instead, the lived experience of disability generates its own specific possibilities that both limit and extend the performativity of the embodied self. I look at what is at stake in the challenge to the Western logos that comes specifically from the capacities of the disabled body, understood not as a less than perfect form of the normative, but as figuring difference in a nonbinary sense. Feminist theory has long contested the isomorphism of the logos, but I go beyond simply setting out the grounds for revaluing multiple variant forms. The feminist turn to Jacques Derrida and Gilles Deleuze opens up the problematic to a celebratory positioning of difference and transcorporeality as the very conditions of life. (shrink)

Introduction : low theory -- Animating revolt and revolting animation -- Dude, where's my phallus? forgetting, losing, looping -- The queer art of failure -- Shadow feminisms : queer negativity and radical passivity -- "The killer in me is the killer in you" : homosexuality and fascism -- Animating failure: ending, fleeing, surviving.

In Feminist, Queer, Crip Alison Kafer imagines a different future for disability and disabled bodies. Challenging the ways in which ideas about the future and time have been deployed in the service of compulsory able-bodiedness and able-mindedness, Kafer rejects the idea of disability as a pre-determined limit. She juxtaposes theories, movements, and identities such as environmental justice, reproductive justice, cyborg theory, transgender politics, and disability that are typically discussed in isolation and envisions new possibilities for crip futures and feminist/queer/crip alliances. (...) This bold book goes against the grain of normalization and promotes a political framework for a more just world. (shrink)