Shangri-La, the Bermuda Triangle, Transylvania, the Golden
Triangle-far-flung in popular conception, these anomalous places
nonetheless occupy the same mysterious zone, a mythography of
unruly cartographic practices. And because this mythography becomes
associated with a particular area of the earth's surface, it may
well suggest an alternative means of mapping the world, dissociated
from the dominant geographical paradigms of nation-state, economic
region, and the global/local marketing nexus. Large-scale
nonnational geographical spaces that find their genesis in popular
feeling, mystery, and belief, these four sites provide Brett
Neilson with the basis not only for rethinking the current global
reorganization of space and time but also for questioning the
dominant narrative by which globalization marks the victory of
capitalism. Free Trade in the Bermuda Triangle moves between
analysis of popular fantasies and engagement with on-the-ground
realities, weaving together topics as diverse as airplane disasters
off the U.S. Atlantic coast, the global drug trade, vampire culture
in postsocialist Europe, and the search for utopia in
Chinese-occupied Tibet. The study of globalization is largely a
solemn affair, occupied with increasing economic polarities,
environmental degradation, and global insecurity. Free Trade in the
Bermuda Triangle maintains a critical focus on these sobering
issues but at the same time asks how popular pleasure and enjoyment
can create viable alternatives to the current global order. Neilson
takes seriously the proposition that capitalism must be contested
at its own level of generality, finding provisional grounds for
resistance in nonlocal transnational spaces that embody quotidian
hopes, desires, and anxieties. By studying the real and imagined
dimensions of these popular geographies, his book seeks resources
for social betterment in the fallen mythologies of the contemporary
postutopian world.Brett Neilson is senior lecturer in the School of
Humanities at the University of Western Sydney, where he is also a
member of the Centre for Cultural Research.
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