Contents
AcknowledgmentsA Quake in Being: An Introduction to Hyperobjects
Part I. What Are Hyperobjects?ViscosityNonlocalityTemporal UndulationPhasingInterobjectivity
Part II. The Time of HyperobjectsThe End of the WorldHypocrisiesThe Age of Asymmetry
NotesIndex
Timothy Morton is Rita Shea Guffey Chair in English at Rice
University. He is the author of many books, including The
Ecological Thought and Ecology without Nature. He blogs frequently
at Ecology without Nature.
"In Hyperobjects, Timothy Morton brings to bear his deep knowledge
of a wide array of subjects to propose a new way of looking at our
situation, which might allow us to take action toward the future
health of the biosphere. Crucially, the relations between Buddhism
and science, nature and culture, are examined in the fusion of a
single vision. The result is a great work of cognitive mapping,
both exciting and useful."—Kim Stanley Robinson, author of Shaman,
2312, and the Mars trilogy
"Not only does Morton range from William Wordsworth to the Velvet
Underground to Nagasaki to Republican denialism, he does it in a
way that marshals these disparate allusions in the service of a
cogent idea, one that manages to come off as both intuitive and
radical."—Newsweek"[This book] is bold, stimulating, and
provocative. With extraordinary verve and audacity, Morton makes
his hyperobjects into harbingers for a new epoch, on a planetary
scale, a task in which he is assisted by the general consensus
about the Anthropocene, the current era of human-induced planetary
change."—Los Angeles Review of Books"Whatever your hopes or fears
for the next major era in human history, Morton is telling us that
it has already happened and it is us."—3 Quarks Daily"A relentless
torrent of commentary that presents challenges to most contemporary
scholarship on both sides of the still upheld nature/culture
divide."—Qui Parle"Morton’s work bridges a gap between academia and
the global warming movement with a postmodern angle."—Vogue"Morton
is unafraid to mix theory with personal and often confessional
material, anchoring his arguments to his own experience of the
world."—A Year’s Work in Critical Culture and Theory
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