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This essay reassesses the significance of Robert Smithson's land art for environmental politics in a time of climate crisis. Drawing on analyses of fossil capital and petrocultures, it argues that Smithson's aesthetics of entropy—particularly as conveyed in the 1970 earthwork Spiral Jetty—provide a valuable dialectical methodology for critical theory in the Capitalocene. The essay proposes a \"negative ecology\" that can challenge logics of resilience and survival shared by ecologists and extractivists alike.

Since when did he give me that pat on the head, and how long had it been since I flinched? I saw us for the first time as a pair, for some reason as cutout silhouettes: him, enormous in his eternal baggy shorts and team jersey; me, thin, tiny, nervous, like one of those creatures just emerged from a burrow, stretched tall and scenting the air for danger. Next birthday a motorcycle materialized in the garage: a vintage Honda Sport 90, not much faster than a scooter but styled like a toy version of the hulking 750 he had bought himself. [...]how to take back all those gestures of trust and affection? A prison door seemed to be closing on us; I told myself this would be the time to break the silence, to set things straight, but the decisive moment passed and things went on as before, like a stalemate, or a marriage in which the roles are so set that a mask can fall off to zero effect. The helmet had the added benefit of muffling sounds of the world outside, and I made great strides in my sense of prosody as my father clattered in the toolbox, assembling and dismantling our bikes.

\"The Well and the Web\" examines a number of media watershed events in which the sense of community in crisis, threatened by new technologies of communication, is expressed in sensationalistic dramas of young lives in mortal danger. From the advent of live TV news to the rise of web-based interactivity, the figure insistently invoked in such scenes of crisis is that of a girl fallen into a well. This theme is echoed in the recent films Ringu and The Ring , whose horror premise makes explicit the necropolitics (Mbembe) underpinning the conventional discourse of community and televisual spectatorship. Drawing on The Phantom Public Sphere (Robbins) and new media theory (Doane, Latham, Poster), I argue that the discourse of community and morality betrays a haunted logic that must engage with contemporary theories of virtuality and spectrality (Derrida). The horror genre's tropes of the viral and the ghost provide the means to articulate a postmodern ethics of spectatorship that, attuned to trauma and the duplicity of discourse, can challenge necropolitics and extend hospitality to the phantoms that haunt the mediatic public sphere.

While travel writing is a non-fiction genre, travellers' accounts always involve aspects of narrative composition more commonly associated with imaginary fiction. Critical attention to a travel account's narrative strategies can thus illuminate the ways in which generic conventions of storytelling and more subtle strategies of narrative composition give verbal shape to a traveller's experience. In so doing, narrative analysis highlights the constructed, if not fictional, dimensions of the textual artefact and provides the means to query the reliability of travellers' representations and their connection to broader narrative aspects of discursive order, including politics and history. The narrative innovations of much modernist writing reflect the complex temporality of mental life in its relation to the newly discovered realms of the Freudian unconscious and phenomenological time as well as a modern world itself characterised by increasing speed and disjunctive temporalities. Bronislaw Malinowski's lone figure on the beach at the beginning of Argonauts can be understood as a narrative choice motivated by the politics of race, gender, and empire, and as such the scene is marked by numerous tensions and contradictions. The problem with the question of narrative beginnings is that they are marked by a violent historical rupture, such that Jamaica Kincaid's postcolonial memory can only uncover origins that are broken, split, and wounded. Modern writers may well set out to initiate something, to travel somewhere new, but they do so without fully believing in absolute originality or unique departures.

About one in five men living with HIV in the U.S. passes through a correctional facility annually. Jails and prisons are seen therefore as key intervention sites to promote HIV treatment as prevention, and the National Institutes of Health has specifically funded \"seek, test, treat, and retain\" projects focused on correctional facilities. However, almost no research has examined inmate's perspectives on HIV treatment or their strategies for retaining access to antiretroviral therapy (ART) during incarceration. This paper presents the results of a descriptive, cross-sectional study examining whether, how, and why HIV positive men access health services and adhere to ART as they enter and exit the criminal justice system. Data were obtained from qualitative, semi-structured interviews conducted with HIV positive men and male-to-female transgendered persons [n=42] recently released from male correctional facilities in Illinois, USA. Interviews focused on disclosure and taking ART while incarcerated. Over 60% of study participants reported missed doses or sustained treatment interruption (>2 weeks) because of incarceration. The leading causes of treatment interruption were failure to disclose their HIV status and delayed prescribing, followed by intermittent dosing, out-of-stock medications, confiscation of medications, and medication strikes. Interpersonal violence, a lack of safety, and perceived threats to privacy were frequently cited as barriers to one's willingness and ability to access and adhere to treatment. Strategies for continuing treatment in jail/prison among those receiving ART when arrested included requesting an HIV test, timing disclosure, managing relations with correctional officers, enlisting family members, avoiding conflict with other inmates, faking mental illness, and hiding medication. Substantial improvements in ART access and adherence are likely to follow organizational changes that make incarcerated people feel safer, facilitate HIV status disclosure, and better protect the confidentiality of inmates receiving ART. Jails and prisons perceived as unsafe are not conducive to the treatment of HIV because inmates often believe an HIV-positive status raises their chances of being subjected to violence. This more immediate concern overrides concern about HIV. For ART to be accepted by inmates, healthy choices also should appear to be reasonable choices.