Animus, animut, animul, animis, amirus…
Join us at ORCA (email orca.philly@protonmail.com for the location) on October 20th at 7pm for a free event for the release of Animus. Free copies (crudely bound+limited availability, reading and printing pdf’s will be free online after the event, and physical copies will be $5 after to cover some of the cost of materials, plus shipping) will be available and if you feel like hanging around we’ll be watching The Fever (2019, 98 min., by Maya Da-Rin) and having a short discussion. Masks will be available and are encouraged. If you’d like to throw cash to future publishing efforts or ORCA there will also be options for that, though not expected at all. If you have stickers, zines, etc. you’d like to give out feel free as well! You can read a pdf of the introduction here.
A first foray into small-scale bookmaking, this initial edition is unfortunately quite rough, with some edges trimmed on a slant, too-small margins, some occasional slightly faded text or misprints not significantly preventing legibility, a too-stiff cover, and the possibility of some toner rubbing off over time.
Animus is an unauthorized collection, a 446pg. paperback of mostly already-published, excerpted writings which brings together anarchist pieces (anti-civilization, queer, insurrectionary, illegalist, and nihilist) with anthropological ones on the indigenous peoples of Amazonia, the North American Eastern Woodlands, Siberia, and Oceania (in the currents around ‘new animism’, Amerindian perspectivism, the so-called ontological turn, and on egalitarian `societies against the state’ and the relationships with these and with hierarchy/civilization of gender, magic, ontology, and violence – also as it concerns animals or spirits, predation, on `supernatural’ planes, or as a quality or possibility), some history, and a few studies of insurgent strategy.
The Fever is a realist, myth-like film by Maya Da-Rin, in collaboration with an indigenous team, featuring some relevant Amazonian cosmologies explored in the book, in industry, humanity, and the wild’s mirroring clashes. From the Criterion Channel description: “This spellbinding narrative feature debut from Maya Da-Rin is an entrancing, enigmatic meditation on the material, spiritual, and dream lives of Brazil’s Indigenous people. Justino (Regis Myrupu, winner of the Best Actor prize at the Locarno Film Festival) is a forty-five-year-old member of the Desana people who works as a security guard at a cargo port in Manaus, an industrial city surrounded by the Amazon rainforest. Since the death of his wife, his main company is his youngest daughter (Rosa Peixoto), a nurse who will soon be leaving him to study medicine in Brasilia. As the days go by, Justino is overcome by a strong, unexplained fever. During the day, he fights to stay awake at work. At night, a mysterious creature follows his footsteps. Torn between the oppression of life in the city and the distance of his native village, Justino can no longer endure an existence without place.”
The book has recurring focuses on the origins and concealed qualities of state-like forms, the paradoxes of semiosis as key to both civilized and anti-civilized forms, and the complication of relations between ‘opposites’ beyond a simplified dualism or nondualism. Animus is a chaotic, naive attempt at collection and distribution emerging from a historical and personal period spent both adrift and under torque. It’s intended as a broad and efficient introduction to the depths of some particularly incisive or relevant approaches in anarchy and anthropology (the specific varieties share some important influences and perspectives, yet differ on others and appear quite compartmentalized), catalyzing as much magico-insurrectionary rupture and insight as possible, for those both well-versed or unfamiliar. A compulsive, propulsive effort (not exactly the fruit of this book’s editor or, in its triangulated particularity, that of the authors either) to weave a fabric that might unravel a few of the threads making up our worlds; those instituted as well as those counter-posed.
Original contributions include an introduction, compiled timeline of the anarchist propaganda of the deed era, a very brief overview of the Bonnot gang’s activities and international illegalist dispersions of that period, a historical outline of the origins of contemporary insurrectionary anarchism focusing on Italy and a timeline of some contemporary insurrectionary attacks, and a preface to two of the included sections on gender in historical Lenape/Delaware and colonial contexts.
Though queerness is a main focus throughout, only a relatively small portion of the material directly focuses on explicitly queer sexuality, gender, or experiences as conventionally understood. Instead, it’s queer in the sense that it’s grounded in and meant to inform and sharpen our lived, mutual relation of hostility with the core structures of gender, sexuality, group and individual identity, morality, sociopolitical organization, semiosis, and indeed ontology, cosmology, and metaphysics that underpin civilization’s power.
In consciously engaging with the `anthropological’, we aim to use the means provisionally designated under this broadly understood, nebulous field against itself, as its best practitioners (opponents?) often seem to do. This indeed can characterize the approach of both its best from a redemptive reapplication of the practice of trying to better understand, complicate, perceive, relate to, or encounter people and the social and of those from its sinister colonial locus. In both – a differing of mentation and a mentation of the different. We find, both in the looking and what is seen, that two impulses of these kinds often impersonate or appropriate each other but genuinely have radically different, opposing trajectories. Many of the included pieces likewise seem to imply that stratified institutions, civilized sexual, gender, and ethno-racial regimes, nationalism and oppressive xenophobia, the alienating order of language, and quasi-Cartesian humanism may have emerged or cloaked themselves under the necessarily possible inversion of forms created specifically for their prevention, and continue to be partly powered by these functions persisting in them as a residue, as well as potentially subverted by them. These egalitarian forms still extant in indigenous `societies against the state’ include the chiefs whose structural power (not properly their own) exists in them being prevented by everyone else from exercising hierarchy. Localized kinship bands whose version of unity exists to violently ensure broader dis-unity. The many indigenous origin myths of how all beings were once human, unlike the civilized myths of animal descent. Humanity as a bodily (yet agent-ed and not scientifically biological or materialist) way of creating one’s self common to all beings (but only through each kind of being’s view) and resting, always unstably, on the capacity to appropriate other kinds of beings’ hostile, animal otherness through a play of mimetic-empathic, mutually defining, metamorphic, violent contact, without getting lost and oneself becoming appropriated into the `humanity’ of the others. A threatening yet all-sustaining given ground of potential sociality and culture (one conflictual and egalitarian) common throughout the cosmos.
