{"id":163154,"date":"2023-02-03T12:15:22","date_gmt":"2023-02-03T17:15:22","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=163154"},"modified":"2023-02-03T12:12:04","modified_gmt":"2023-02-03T17:12:04","slug":"on-hegel-nadine-gordimer-and-kyle-abraham","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/02\/03\/on-hegel-nadine-gordimer-and-kyle-abraham\/","title":{"rendered":"On Hegel, Nadine Gordimer, and Kyle Abraham"},"content":{"rendered":"
\"\"

Gianna Theodore in Kyle Abraham\u2019s Our Indigo: If We Were a Love Song<\/em>.<\/p><\/div>\n

Over the past year I have read and reread Angelica Nuzzo\u2019s book <\/span>Approaching Hegel\u2019s Logic, Obliquely<\/span><\/i>, <\/span>in which<\/span> Nuzzo guides the reader through Hegel\u2019s<\/span>\u00a0Science of Logic.<\/span><\/i> Nuzzo presents the question of how we are to think about history as it unfolds amid chaos and relentless crises. How, in other words, are we to find a means to think outside the incessant whirr of our times? The answer she provides is one I find wholly satisfactory: it is through the work of Hegel that we are best able to think about and think through the current state of the world, precisely because his work is itself an exploration of thinking\u2014particularly<\/span>\u00a0Science of Logic<\/span><\/i>, as Nuzzo eloquently explains:<\/span><\/p>\n

Hegel<\/span>\u2019<\/span>s dialectic-speculative logic is the only one that aims at\u2014and succeeds in\u2014accounting for the dynamic of real <\/span>processes<\/span><\/i>: natural, psychological but also social, political, and historical processes. It is a logic that attempts to think of change and transformation in their dynamic flux not by fixating movement in abstract static descriptions but by <\/span>performing movement itself<\/span><\/i>.\u00a0<\/span><\/p><\/blockquote>\n

By tracking the movement of the mind, a movement that is incessant and fluid, we are best equipped to study the crises of our time as they occur. In particular, we are best able to examine and analyze the structure of capitalism itself, a structure which is formed by exchange value and is thus a system of infinite repetition and reproduction. A system of infinite plasticity\u2014appropriating everything it comes in contact with. A system, in other words, akin to that of the mind. Hegel does not merely explain how the mind works but enacts its very movement. He places us in the center of its whirr.\u00a0<\/span><\/p>\n

\u2014Cynthia Cruz, author of \u201c<\/b>Charity Balls<\/b><\/a>\u201d<\/b><\/p>\n

For the past few months, I\u2019ve been reading novels about white women settlers in colonial and post-independent Africa. Many of the protagonists I\u2019ve encountered are coming of age; their journeys are heroes\u2019 journeys, culminating in a coupling that enshrines, perhaps paradoxically, their so-called independence, a process that is almost always set against an independence movement, whether a successful or an ongoing one. In Nadine Gordimer\u2019s <\/span>The Late Bourgeois World<\/span><\/i>, published in 1966 and set during apartheid, Liz Van Den Sandt is already divorced. Her ex-husband, a militant communist who has disavowed his Boer upbringing, has just drowned himself. She feels no sympathy for him, although she is convinced that his tactics (acting as a rogue bomber, and then as an informant once he was caught) were righteous: \u201che went after the right things, even if perhaps it was the wrong way,\u201d she tells their son, who is completely undisturbed by the news of his father\u2019s death. \u201cIf he failed, well, that\u2019s better than making no attempt.\u201d But Liz herself seems without conviction altogether: having left political life, she has now taken as her part-time lover a man with good taste and no political conscience. Nevertheless, she feels herself distinct from the consumer-driven white women around her, \u201cthe good citizens who never had any doubt about where their allegiance lay.\u201d When she is asked by a former black political ally (another sometimes lover) to take a potentially risky action, she can see no reason not to. And yet she hesitates and finds excuses, seeing in her ally\u2019s pleas only what she imagines he projects onto her. I don\u2019t know if I liked or disliked the book. Some parts I found pleasurable, and other parts painful and intolerable. But as a data point, I found its cynical literalism intriguing. \u201cA sympathetic white woman hasn\u2019t got anything to offer,\u201d she muses, \u201cexcept the footing she keeps in the good old white Reserve of banks and privileges.\u201d In exchange, all she can hope for is the possibility of sex, \u201cthis time or next time.\u201d<\/span><\/p>\n

\u2014Maya Binyam, contributing editor<\/b><\/p>\n

Recently, I\u2019ve been obsessed with a video recording of a performance I saw last April at the Institute of Contemporary Art in Boston: three works by the choreographer Kyle Abraham, among them the haunting Our Indigo: If We Were a Love Song<\/em>. Abraham has become well-known for large-scale collaborations with Kendrick Lamar, Beyonc\u00e9, and Sufjan Stevens. But Love Song<\/em> is understated: it\u2019s a curation of solos, duos, and trios set to Nina Simone, each of them a private moment or choreographic journal entry. The dance makes me want to move and groove, while also rooting me to the spot, so arresting is its beauty. In a solo set to Simone\u2019s \u201cLittle Girl Blue,\u201d Gianna Theodore coils her way across the space in a sequence of delicate and acrobatic floor work. In a kind of silent break dance, she lays her whole body weight into the ground only to spring back up in time with the music. \u201cWhy won\u2019t somebody send a tender blue boy,\u201d Simone sings, as Theodore moves effortlessly between crouching and standing, \u201cto cheer up little girl blue.\u201d In the video<\/a>, Theodore appears against a shocking yellow-and-white tile wall wearing a simple navy dress. Though the close-up shots elide some of her larger movements, they also draw me close to her private sensations and memories. Watching Theodore\u2019s blue dress trail on the ground, her hands checking the hem as she kneels, <\/b>I encounter my own sense memories: the silhouette of my grandmother, dancer-thin behind a cloud of cigarette smoke, humming along to Nina Simone. To see Abraham’s work performed by his company, A.I.M.<\/a>, is a particular treat, so fluent the dancers are in his physical language. You can catch them performing Our Indigo: If We Were a Love Song<\/em> in New York at the Joyce Theater April 4\u20139<\/a>.<\/span><\/span><\/p>\n

\u2014Elinor Hitt, reader<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

All she can hope for is the possibility of sex, \u201cthis time or next time.\u201d<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[17818,68600,67827,15089,68601,12331],"class_list":["post-163154","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-choreography","tag-cynthia-cruz","tag-featured","tag-hegel","tag-kyle-abraham","tag-nadine-gordimer"],"acf":[],"yoast_head":"\nOn Hegel, Nadine Gordimer, and Kyle Abraham by The Paris Review<\/title>\n<meta name=\"description\" content=\"February 3, 2023 \u2013 All she can hope for is the possibility of sex, \u201cthis time or next time.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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