The new aesthetic, the contemporary, and compositional criticism. Flat aesthetics: things, forms, and exchange regimes
Flat reading: object tangles and criticism without "us"
Contemporaneity, periodization, and the signature of the present
Language. Cap'n crunch, planet of the apes, the kingfishers: Ben Lerner and the uselessness of poetry
Necklaces, novels, backpacks: a post is being formed in Leaving the Atocha Station
Bees, parrot, trains: murder by numbers and "the foulest of crimes" in The final solution
Display. Freighters, snow globes, comics: Mandel's museum of civilization, or survival is insufficient
Photographs, instant coffee, baby octopuses: "mere objecthood," messianic readymades, and the institute of totaled art in 10:04
Exit. Go, dog. go! scuba diving, massage chairs: The dog, X/it-men, and other things that go
Ravann, doors, cell phones: un-telling, "mocking objects," and Hamid's Exit West
Revenant. Copula, ding, assembly: zombies and the body politic
Corsica, dust, skels: the insistence of things and the object of race in Whitehead's Zone one
Kinship. Fish, peacock, ram: Schulz, Blecher, Foer, and Kafka's unknown family
Hilton, suitcase, ein-sof: Forest dark and the machine of Jewish literature
Conclusion: Composing the contemporary.