By Stephanie LeMenager
Living Oil is a piece of environmental cultural reviews that engages with a large spectrum of cultural types, from museum indicates and oil excursions to poetry, documentary movie, fiction, nonetheless images, novels and memoirs. The book's precise concentration is the classy, sensory and emotional legacies of petroleum, from its upward thrust to the preeminent smooth fossil gas in the course of global warfare I throughout the present period of so-called difficult Oil. LeMenager conceives tricky Oil as a bid for continuity with the charismatic existence of the yankee 20th century that contains unique and severe exterior expenses. She explores the uncomfortable, combined emotions produced by means of oil's omnipresence in cultural artifacts reminiscent of books, motion pictures, hamburgers, and Aspirin capsules. The e-book makes a powerful argument for the quarter as a necessary highbrow body for the research of fossil fuels, simply because on the neighborhood point we will greater realize the fabric results of petroleum at the daily lives of people and different, non-human lives. diverse types of paintings, too, localize the cloth affects of petro-culture. The fluid mobility of oil incorporates the publication open air the U.S., for example to Alberta and Nigeria, emphasizing how either overseas and family source areas were mined to supply the idealized smooth cultures of the so-called American Century.
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Extra resources for Living Oil: Petroleum Culture in the American Century
54 Keeble chooses a texturally rich photograph by Fobes of oil-soaked carcasses in a heap, birds and otters awaiting cold storage, for inclusion in his excellent book about the Valdez spill, Out of the Channel. The production of bodies as garbage, chaotic matter out of place, grounds this image. ” As Berger writes in dialogue with Sontag, whose words appear here in single quotes, photos “offer appearances . . prised away from their meaning. Meaning is the result of functioning. ’ ”57 The criticism directed at the political ineffectiveness and even violence of the atrocity photograph in the era of the Vietnam War made sense in the context of foreign combat that seemed, for the first time, to betray the consent of the American citizenry.
The drilling extended approximately 3,500 feet under the ocean floor. Gas shot up through the drill pipe, and the pipe was dropped back down into the hole. Then the top of the well was capped. But gas forced its way up through breaks near the bottom of the well hole, and then through cracks in the seabed. At that point, the accident began in earnest. For ten days crude foamed in a 150- to 200-mile-long slick off the coast, and it washed up on the beaches, bringing with it the dead and dying bodies of seabirds, fish, and occasional seals and porpoises.
The derricks stand at the edge of one of the world’s biologically richest marine sanctuaries. In the dark, their lights showed me where to assume the ocean, and I appreciated them as indexes of a rich habitat that I could not see for myself. The spill befouled beaches, and it killed or sickened hundreds of seafowl and marine animals. In what the environmentalist and political scientist David Orr calls “the dialogue between oil and water”1 which structures the modern world, Santa Barbara sounded the possibility of choosing: either oil and modernity, or water and a speculative world known vaguely under the sign of ecology.