From every quarter we hear of a new global culture, postcolonial,
hybrid, announcing the death of nationalism, the arrival of
cosmopolitanism. But under the drumbeat attending this trend,
Timothy Brennan detects another, altogether different sound.
Polemical, passionate, certain to provoke, his book exposes the
drama being played out under the guise of globalism. A bracing
critique of the critical self-indulgence that calls itself
cosmopolitanism, it also takes note of the many countervailing
forces acting against globalism in its facile, homogenizing sense.
The developments Brennan traces occur in many places--editorial
pages, policy journals, corporate training manuals, and, primarily,
in the arts. His subject takes him from George Orwell to Julia
Kristeva, from Subcommandante Marcos to Julio Cortazar, from Ernst
Bloch to contemporary apologists for transnational capitalism and
"liberation management," from "third world" writing to the Nobel
Prize, with little of critical theory or cultural studies left
untouched in between. Brennan gives extended treatment to two
exemplary figures: the Trinidadian writer C. L. R. James, whose
work suggests an alternative approach to cultural studies; and the
Cuban writer Alejo Carpentier, whose appreciation of Cuban popular
music cuts through the usual distinctions between mass and elite
culture.
A critical call to arms, "At Home in the World" summons
intellectuals and scholars to reinvigorate critical cultural
studies. In stripping the false and heedless from the new
cosmopolitanism, Brennan revitalizes the idea.
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