In The Hundreds
Lauren Berlant and Kathleen Stewart speculate on writing, affect,
politics, and attention to processes of world-making. The experiment
of the one hundred word constraint—each piece is one hundred or
multiples of one hundred words long—amplifies the resonance of
things that are happening in atmospheres, rhythms of encounter, and
scenes that shift the social and conceptual ground. What's an
encounter with anything once it's seen as an incitement to
composition? What's a concept or a theory if they're no longer seen
as a truth effect, but a training in absorption, attention, and
framing? The Hundreds includes four indexes in which Andrew Causey,
Susan Lepselter, Fred Moten, and Stephen Muecke each respond with
their own compositional, conceptual, and formal staging of the worlds
of the book.