The Us in Dust: Philip Pullman's His Dark Materials, Reza Negarestani's

Cyclonopedia, and other evidence of Cultural Dust.

A long time ago I was struck by a passage in Henry David Thoreau's Walden, in which the
archetypal nature-lover tries to bring some of the great outdoors inside his writer's lair, to
afford him inspiration. He keeps three magnificent chunks of limestone on his desk, only to
find that they require daily dusting, and so he throws them out of the window in disgust,
declaring I would rather sit in the open air, for no dust gathers on the grass, unless where
man has broken ground.1

I remember the first little thrill I got from these words. Thoreau seemed to be implying that
Dust was an artifact of culture, a concomitant of civilisation, unknown in the wilderness. 2
From cobwebbed catacombs to the grey velvet mat across the top of the VCR machine, it
did seem to ring true. But what about deserts, those completely wild silos of Dust?
Growing awareness of desertification indicates that civilisation might be responsible for
those Dust bowls too. Even Australia, if we are to believe Tim Flannery's Future Eaters,
was once a rainforest paradise, not the red desert it became after human colonisation and
firestick farming.3 So the deserts of the Middle East were both source and residue of
culture as we have come to know it in the civilised world: meat, wheat, and monotheism! 4

Previously, I had thought of Dust as the natural substance that reclaimed human artifacts
after the death of culture. Dwindling civilisations were swathed in its imperceptible
embrace over aeons, and eventually archaeologists had to sweep it all aside in order to
find the evidence of the cultures they were searching for. But maybe Dust itself was
evidence of culture? Maybe Dust was culture, and culture was Dust?

I had forgotten about this line of reasoning until I read Philip Pullman's His Dark Materials,
a dense, sophisticated steampunk trilogy aimed at young adults and dedicated to
expunging the Christian propaganda of C.S.Lewis's Narnia series once and for all. In
Pullman's multi-world universe, Dust with a capital D is a recurring entity which clings to
people and to cultural artifacts.

In the first book of the trilogy, The Golden Compass, the young heroine Lyra witnesses a
magical slideshow in which, thanks to a particular photographic emulsion, golden particles
of Dust can be seen streaming around the silhouette of a man. Interestingly, a child in the
same photo has attracted little or no Dust, and this is to be a recurring theme throughout
the trilogy. At the passage of adolescence, children open themselves to the wonders or
terrors of Dust, depending on your point of view.

Lyra's world is similar to our world but isn't our world. Their technology and terminology
diverges subtly from our own, like a mirror with its own mind. The most striking difference

1 Thoreau, Henry David. Walden, or Life in the Woods. New York: Dover Publications, 1995, 23.
2 Following Philip Pullman's example, I have decided to capitalise Dust except when it appears otherwise in
quotations.
3 Flannery, Tim. The Future Eaters, An Ecological History of the Australasian Lands and People.
Chatswood, N.S.W.: Reed Books, 1994.
4 Obviously meat is eaten wherever humans find themselves, but the livestock varieties we breed so
efficiently for slaughter: sheep, goats, and cows, all have their origins in the Middle East. Reza
Negarestani sees desertification as a deliberate jihadi strategy, as militant horizontality is the promised
land of the Divine. Negarestani, Reza. Cyclonopedia: Complicity with Anonymous Materials. Melbourne:
re:press, 2008, 18.
about Lyra's world is the fact that all humans possess a daemon, which is something like
spirit, only incarnated in animal form. These animal spirits are inseparable from their
human charges, indeed, neither can survive long without the other. When people in Lyra's
world are young, their daemons change shape incessantly. But around the time of
adolescence, they choose one form, which they will hold for the rest of their lives. Known
as settling, this process occurs at the same time that Dust starts to be attracted to
children. So, when you settle, Dust settles on you. Dust can't settle on the unsettled
hence Thoreau tossing his rocks out the window in Walden.

There are a host of associations which accumulate around the word Dust in His Dark
Materials, as though the term itself attracts fragments and flakes of meaning. Everyone
has a different opinion about the substance. The Magisterium, an all-powerful global
church state in Lyra's world, fears Dust, and Mrs. Coulter, the arch-villainess of the trilogy
who is actually Lyra's mother, explains to her daughter that Dust is something bad,
something wrong, something evil and wicked.5 The daemon, the animal nature of a
human, is responsible for introducing troublesome thoughts and feelings at puberty, and
that, according to Mrs. Coulter, is what lets Dust in. 6

Indeed, according to the heretical renegade Lord Asriel (complicatedly, Lyra's father), the
Magisterium sees Dust as the physical evidence for original sin. 7 But Dust isn't just sinful,
it's smart; indeed, it's what powers the narrative engine of His Dark Materials. Its billions
of particles were like the stars of every galaxy in the sky, and every one of them was a little
fragment of conscious thought.8 Dust is what moves the needle of Lyra's alethiometer, the
eponymous golden compass.9 Lyra is able to read this device intuitively, while adults must
spend a lifetime consulting arcane tomes in order to unlock its mysteries. This, too, has
something to do with innocence versus experience. Iorek Byrnison, king of the armoured
bears, notes that adults can't read the compass, just as bears can't be lied to; 10 animals
and children are yet to be corrupted, true, but they are also yet to be cultured.

Dust is also clearly divine. Lee Scorseby, the hardbitten Texan aeronaut, talks of Tartars
drilling holes in their skulls so the gods can talk to them, 11 while several pages later, a
child opines that Tartars make holes in their skulls to let the Dust in. 12 Gods and Dust are
one, yet for the duration of The Golden Compass, Dust is shrouded in fear, or dark
intentions, like the forms of thoughts not yet born. 13 It is only at the novel's close that Lyra
and her daemon Pantalaimon decide that because the girl's hateful parents are both
conspiring against Dust, then the substance must, by default, be benign.

The second book in the trilogy, The Subtle Knife, introduces multiple worlds, including our
own. Lyra meets her trusty sidekick, twelve year old Will, and a particle physicist who
happens to be an ex-nun. Dr. Mary Malone calls Dust Shadows which she defines as
particles of consciousness.14 Like Lyra, Dr. Malone has noticed that these particles seem
to be attracted to us, indeed, Anything that was associated with human workmanship and
5 Pullman, Philip. The Golden Compass, New York: Knopf, 1998, 282.
6 Ibid, 284.
7 Ibid, 371.
8 Pullman, Philip. The Amber Spyglass. New York: Knopf, 2000, 401.
9 Golden Compass, 184.
10 Ibid, 226.
11 Ibid, 228.
12 Ibid, 246. In The Subtle Knife, Lyra's alethiometer tells her that the trepanned skulls in the Bodlean
Museum attract more dust than a skull with a mere arrow wound. Pullman, Philip, The Subtle Knife, New
York: Knopf, 1997, 77.
13 Golden Compass, 390.
14 Subtle Knife, 88.
human thought was surrounded by Shadows...15 Lyra and Dr. Malone agree that there are
many ways to get in touch with this cosmic intelligence. The I Ching is an acknowledged
source, as is Lyra's alethiometer, and Dr. Malone's computer. When, under Lyra's
guidance, Dr. Malone uses her computer to actually talk to, rather than measure, the
substance that is Dust/Shadows, a remarkable conversation ensues, in which Pullman
reveals his hand more than at any other point in the trilogy:

Are you Shadows? YES.

Are you the same as Lyra's Dust? YES.
And is that dark matter? YES.
Dark matter is conscious? EVIDENTLY.

There's more than one of you? UNCOUNTABLE BILLIONS.

But what are you? ANGELS.

Angels are creatures of Shadow matter? Of Dust? STRUCTURES.

COMPLEXIFICATIONS.
YES.

And Shadow matter is what we have called spirit? FROM WHAT WE ARE, SPIRIT;
FROM WHAT WE DO, MATTER.
MATTER AND SPIRIT ARE ONE.

And did you intervene in human evolution? YES.16

It isn't until book three, The Amber Spyglass, that we get up close and personal with some
angels: the queer cosmic couple Baruch and Balthamos. Perhaps the former is a nod to
Baruch Spinoza, whose monist philosophy postulated a single, universal substance, with
the spiritual and physical as merely two aspects of what he chose to call God.17 Pullman's
Dust, like Spinoza's Substance, is entirely immanent, and knows no separation of matter
and spirit.18

In The Amber Spyglass, the angel Baruch was a man who lived 4,000 years ago too far
back for him to be an ascended Spinoza, but the book's title (Spinoza was a humble
spectacle grinder, while the Amber Spyglass of the title is also made laboriously by a
humble scientist-theologian), and the gay angels (speculation on Spinoza's homosexuality
abound) are surely intentional tributes.

Baruch the angel, it turns out, was in fact the earthly brother of Enoch, who has become
Metatron, the all-powerful archangel who has usurped the power of the creator, calling
himself The Authority. Thousands of years ago he cast out Baruch, his own brother for, we
assume, his love of another male angel. In other words, the self-proclaimed God is a
homophobe,19 yet another reason to side with Lord Asriel, the symbolic Lucifer of the
trilogy, and his gathering of insurgents.

15 Ibid, 89.
16 Ibid, 248-249.
17 Bird, Anne-Marie, Circumventing the Grand Narrative: Dust as an Alternative Theological Vision in
Pullmans His Dark Materials, in His Dark Materials Illuminated: Critical Essays on Philip Pullmans
Trilogy, edited by Millicent Lenz, with Carole Scott. Detroit: Wayne State University Press, 2005, 191.
18 Colas, Santiago, Telling True Stories, or The Immanent Ethics of Material Spirit (and SpiritualMatter) in
Philip Pullmans His Dark Materials, Discourse, 27.1 (Winter 2005), 49.
19 Amber Spyglass, 63.
Balthamos says that Dust is only a name for what happens when matter begins to
understand itself. Matter loves matter. It seeks to know more about itself, and Dust is
formed.20 There is an inference that knowledge here is implied in the Biblical sense, as a
euphemism for sexual relations, although it's also much more than that. Nevertheless, the
crux of the novel, indeed the whole trilogy, is the rehabilitation of sexuality without sin, as
Lyra and her male companion Will become young lovers towards the narrative's end, and
rejunivate the ailing worlds with their sexual love. The Dust that was leaking out of the
holes in the fabric of the multiverse comes streaming back again. Matter loves matter (Lyra
and Will), matter loves Dust (the raging stormy night that Mary Malone witnesses, as the
wind and trees moan over the loss of Dust), and Dust loves matter, turning tide and settling
all around Will and Lyra, whose daemons have settled into their fixed form after they
have felt the touch of a lover's hand upon them. Will and Lyra are now radiant with Dust,
and all is well with the worlds.

In a far less Utopian opus, Dust again is personified as an agentic force: Reza
Negarestani's Cyclonopedia, a demonological treatise which is itself a Dust-covered
manuscript exumed from under a bed in a Turkish hotel in the book's preface. The
bastard child of Burroughs, Bataille, Deleuze and Guattari, not to mention two Gulf Wars,
in Cyclonopedia Negarestani claims Dust as our super-weapon, infected with bad
karma.21 As with His Dark Materials, Dust is data-rich, is the middle-eastern unit of
information.22 Dusts inherent dryness (xero in Greek) leads to the appelation Xero-data.
Negarestani's pseudo-encyclopedia (Cyclonopedia a Dust Storm of data?) characterises
Dust thus:

Xero-data, or dust, swarms planetary bodies as the primal flux of data or the Mother of all
Data-streams in the Solar system. Each particle of dust carries with it a unique vision of
matter, movement, collectivity, interaction, affect, differentiation, composition and infinite
darkness a crystalised data-base or a plot ready to combine and react, to be narrated on
and through something.23

Xero-data does not animate our universe with spirit, but infects it with nihilism: dust
qabalistically equals No God,24 whereas Anne-Marie Bird suggests that for Pullman, Dust
functions as a replacement for the redundant God, who, even before he is eradicated in
the final volume of the trilogy, is described as having 'withdrawn.' 25 And yet, according to
Negarestani, nothing is more characteristically middle-eastern than the monotheistic,
essentially Zoroastrian phrase dust to dust,26 and Dust has filtered across the planet as
that middle-eastern relic from which nothing can escape. 27 I think of the Palestinian artist,
Raeda Saadeh, and her two-channel video installation Vacuum, (2007), in which the artist
performs a Sisyphean task: vacuuming the dusty, desert hills of Palestine. While this might
partially be a commentary on women's work, it is also about history and the impossibility of
erasure, of the omnipresent cloak of data-rich matter which preserves as much as it
conceals.

For Negarestani, the Dust storms generated by the Gulf Wars have created a Fog of War
which blocks all visions, and engineers a type of vision associated with blindness. ()

20 Ibid, 31.
21 Cyclonopedia, 87.
22 Ibid, 88.
23 Ibid.
24 Ibid, 191.
25 Bird, Circumventing the Grand Narrative, 191.
26 Cyclonopedia, 87.
27 Ibid, 88.
every warmachine is born blind, and only through the Fog of War can it see: seeing only
other warmachines moving, copulating and finally being devoured by War. 28 Unlike
Pullman's Dust-attracting sexuality without sin, Negarestani's middle-eastern Fog of War is
the endless ejaculate of Wargasm.29

But Dust is so baked, so dehydrated that it thirsts for cosmic wetness, for the flood. 30
Negarestani creates a binary of wet and dry in which napht, the Persian word for wetness,
comes to name oil, and the petro-politics which drives the Gulf Wars in the first place.

If each dust particle emerges from a different territory and is composed of anonymous
materials, then dust particles can only settle together and unite once they are moistened
by one substance. Only oil can settle the dust of the Middle East, declares Parsani. But
dust is a real nomadic entity, because it migrates elsewhere, spiriting itself away as an
illusive ground, a bogus State.31

In Prisoner of Love, a novel about his time spent with Palestinian freedom fighters, Jean
Genet describes dusty shops selling Japanese electronics in Amman, Jordan, as if in an
underwater world. Of course the dust was still Arab even though the goods I saw on
display were Japanese, but the even layer of particles, soft to the eye as the down in an
asss ear, was a kind of darkness. Not total darkness, though. A sort of submarine gloom.
You might say the grey dust made Amman a city of the deep. 32 The isolation and surreal
desperation of this desert environment might as well put it at the bottom of the ocean.

Interestingly, in Pullman's universe, the mulefa (strange, sentient wheeled animals Mary
Malone makes her home with) venerate a particular oil which comes from the wheel-pod
trees with which they have a symbiotic relationship. The oil gives them consciousness,
thus they have their own Garden of Eden myth, with oil taking the place of the fruit of
knowledge. When Dr. Malone constructs her amber spyglass in order to see the Dust
(which the mulefa give the rather Arabic sounding name of sraf), it only works after she
coats the spyglass with the special oil.33

As with Negarestani, there is mutual attraction between Oil and Dust, or Dust and any
wetness. It is Dust and water that combine to make clay, and clay in many an originary
mythos is the origin of the human form, and, eventually, that insidiously Dust-attracting
conglomeration of humans and other forms of congealed Dust known as civilisation, 34
some of which I will attempt to sketch out below.

Artistic Dust

28 Ibid, 101.
29 Ibid.
30 Ibid, 92.
31 Ibid, 88.
32 Genet, Jean. Prisoner of Love, New York: New York Review Books, 2003, 17. Another book, another
shop: the preface to Cyclonopedia talks of a Turkish bookshop in which books are chosen by the dust
they attract rather than their covers; the more dust they collect the more exciting they get. (xv)
33 Dane Mitchell, a Dust-obsessed artist, notes that Since classical antiquity it was known that some
materials such as amber attract light particles after rubbing. The Greek word for amber is electron, in
Minor Optics (Berlin: Berliner Kunstlerprogramm/DAAD), 2009, 3:8. But more of Mitchell in a moment.
34 Concrete as the ultimate solidified dust is eulogised as the poor mans marble of modernity but Unlike
marble, concrete can be poured over everything and anywhere, symmetricalizing an ever more fluid
world. Taussig, Michael. The Magic of the State. New York: Routledge, 1997, 170. Taussig takes these
ideas further in: My Cocaine Museum. Chicago and London: University of Chicago Press, 2004.
Understand this, says Xaphania, one of the oldest angels in Pullman's universe: Dust is
not a constant. There's not a fixed quantity that has always been the same. Conscious
beings make Dust they renew it all the time, by thinking and feeling and reflecting, by
gaining wisdom and passing it on. 35

If Dust = culture, then the artworld ought to be teeming with it. Yet the white cube is
particularly Dust averse. Artist's studios seem more promising breeding grounds for the
particulate matter. Apollinaire once wrote that Picassos studio was overrun with a
confusion of Oceanian and African idols, anatomical specimens, musical instruments, fruit,
bottles and a great deal of dust. 36 Marcel Duchamps Large Glass was left languishing in a
state of partial completion while the artist spent a year in New York. The year's worth of
Dust on the Glass's veined and ribbed surface was photographed in 1920 by Man Ray.
Called Dust Breeding, (Duchamp's Large Glass with Dust Notes), Ray's photograph looks
like an aerial view of the ancient geoglyphs carved into the Nazca desert of Peru (now
there's an art of Dust!). I'm charmed by the parenthetic title, and wonder, just what are
Dust Notes? Are they Dust motes with a literary bent? Notes about Dust? Or, is Dust
itself a form of notation, the settling of information over an artifact as an addendum, so that
the object is cloaked in its own data cloud?

Duchamp cleaned the Large Glass, but left a section of it dusty, permanently fixing the
particles to its vitreous surface. Duchamp himself is now permanently fixed, you might
even say settled in the contemporary art canon. No amount of dusting will budge this
particular Shadow from our collective consciousness. And one artist who continues this
particular Duchampian tradition, Dane Mitchell, has made work increasingly obsessed with
Dust.

Cosmic Dust

Mitchell's practice has always revolved around rehabilitation of the overlooked exhibiting
rubbish from a dealer gallery's trashcan or the invisible: paying psychics to invoke
ghosts; distilling smells from empty rooms. Mitchell has been compiling a Dust Archive
since 2003, which includes samples of Dust gathered from galleries and art museums
around the world. Mitchell expounds upon the properties of Dust which may contain
anything from space stones to Saharan dust, from fungi to the bones of animals, bits of
modern tire rubber, poisonous lead, long banned pesticides, dangerous molds and
bacteria and countless micrograms of human skin. Such clusters are riddled with allergy-
inducing dust-mite parts, with the mites themselves, and with the pseudo-scorpions that
stalk and kill them.37

Christian Rattemeyer invokes the omnipresent Judeo-Christian dictum, for dust thou art,
and unto dust shalt thou return (Genesis, 3:19), noting that Mitchell's Dust Archive is a
record of all that comes to visit art in its different and multifarious homes, and thus
represents the potential, eternal audience: for we all come from dust... 38

35 Amber Spyglass, 491.

36 Flam, Jack, ed., with Miriam Deutch. Primitivism and twentieth-century art: a documentary history.
Berkeley: University of California Press, 2003
37 In: Rattemeyer, Christian, Dust Archive, NDP #4, New York: North Drive Press, 2007. Archived online at:
http://www.galeriewest.nl/artists2/Dane_Mitchell/1/Christian_Rattemeyer_about_Dust_Archive_(EN)/08_1
1_A_guest_A_host. Accessed August 5, 2012.
38 Ibid, (my italics).
In Minor Optics (Dust Particulate Collection), 2009, at DAAD Gallerie in Berlin, Mitchell
exhibited squares of black laquered steel, clamped with vices at their bases, and
freestanding in the gallery space. Attached to voltage units, the electro-static charge the
steel plates generated became Dust-attractors: willfully, unnecessarily stark, these
suprematist forms were set up to achieve that which happens quite naturally on any shelf
of tchotchkes in any home. Indeed, putting the US back in DUST, Emily Cormack notes
that Mitchell's monoliths emulate the dust-attracting qualities of a human. 39

At the Busan Biennale, 2010, Mitchell turned his attention to the skies with Cosmic Dust
Collection {Extraterrestrial Smithereens}, a series of adapted satellite dishes working to
collect Interplanetary Dust Particles (IDPs) as they continuously rain down through earth's
outer atmosphere. Apparently the dishes use strong rare earth magnets to which the
Cosmic Dust is attracted due to its high magnetism. It's hard to know how much to invest
in Mitchell's deft appropriation of lab culture which seems too quirky to be verifiable. It's a
little like the Museum of Jurassic Technology in which every exhibit throws up more
question marks than answers, although unlike the Museum, which really is a Dust
Collector, Mitchell's pristine works perform a very different set of aesthetic imperatives.
Eschewing the very thing they seek to attract, they are anachronisms: clean lines and
polished surfaces in the service of attracting an agent of disruption and entropic decay.
Dust speeds decay and is its own result.40 Mitchell suggests that one of the purposes of
capturing and cataloguing Cosmic Dust is to locate ourselves in the vastness of space, yet
his method of display knowingly segregates rather than unifies. What is in us, around us,
all the time, (just think of Carl Sagan intoning We are made of starstuff!) is segregated
from viewers by a vitrine, on a slide under a magnifying glass, an unnatural separation that
recalls the experimental station at Bolvangar in The Golden Compass where children are
severed from their daemons. Mitchell's pseudo-science is more quaintly benign than
Pullman's nightmare world, but both point to the folly of striving for pure objectivity.

Gendered Dust

In 1997, a young Elam graduate called Jacob Faull approached the Auckland Museum
about hosting an artist's intervention in the Oriental Room which was soon to undergo
refurbishment. Eponymously titled The Oriental Room, the show, including work by up-and
-coming artists like Daniel Malone and Yuk King Tan, was pulled after only a couple of
weeks due to disgruntled responses from the public. One of the biggest bones of
contention was Constance McArdle's vitrine which contained the contents of a vacuum
bag the Dust we normally dump in the bin, face averted, in disbelief that we have
managed to coexist with such quantities of this insidious grey substance and have lived to
tell the tale. McArdle had included a video of the Dust being vacuumed from the room
itself, reminding us of the role of cleaners and caretakers, the unsung heroes that Mierle
Laderman Ukeles vindicated when she declared such caretaking to be its own artform with
her 1969 Maintenance Art manifesto.

Perhaps McArdle was commenting on the dusty state of the Museum's collection,
channelling collective memories of, for example, the motheaten stuffed elephant that
greeted us Aucklanders as kids, straw falling out of his tatty scrotum; the kind of museum
experience Robert Smithson captured so eloquently in his 1968 essay The
Establishment.41 Or perhaps McArdle, like Saadeh, was foregrounding the experience of

39 Cormack, Emily, Minor Optics, in Mitchell, Minor Optics, 2:8.

40 Mitchell, Dane, Table of Elements, Ibid, 3:8.
41 Smithson, Robert, The Establishment, in Robert Smithson, The Collected Writings, edited by Jack Flam,
Berkeley: University of California Press, 1996, 97-99.
women as the ultimate Dust-busters, doomed to an eternal and useless struggle against
entropy. But if Dust=culture, perhaps it's women who, despite Barbara Kruger's assertions,
play nature to this culture, unsettling the settled, albeit in a daily, losing battle, that requires
summoning every ounce of strength, until we finally give in, and make our peace with Dust
by becoming one with it?

Cultural Dust

Artist Rangituhia Hollis runs a collaborative blog called puehu: cultural dust.42 I asked him
what the name was about and he said it was inspired by the whakatauki (saying or
proverb) tutu ana te puehu which refers to an orator on the marae stirring up the Dust.
The marae atea is a sacred space, a space between, neither here nor there, but a meeting
place, where people come together and reconcile differences. In our contemporary world,
this might be related to cyberspace, which is also a space between and a collaborative
space, where different orators stir the dust. Hollis, who works predominantly with
politically and culturally-charged forms of computer animation, uses the analogy of Tom
and Jerry cartoons, where cat and mouse are enveloped in a cloud of Dust that absorbs
everything around them, perhaps something like Negarestani's Fog of War, and what
Santiago Colas characterises in the Pullman universe as the relational event that is
Dust.43

And I wonder about the cultural production of people who live in deserts, and not just in the
Middle East, but the indigenous arts of parts of America the impermanence of Navajo
sand painting, for example, or Aboriginal dot paintings in Australia as if the grains of Dust
of the great red deserts had become the unit with which to build any depiction, any
understanding of the world's workings. Colas again, Dust is the dynamic relation that is
the world.44

In Circumventing the Grand Narrative Bird seems somewhat irritable about the fact that
there are inconsistencies or contradictions within Pullman's universe as to the nature of
Dust, acknowledging Dust as an agentic force which blocks our efforts to establish an
integrated symbolic interpretation of it.45 Like Hollis's Tom and Jerry cartoon on the marae
atea, I think it entirely appropriate to the nature of Dust that just such a Fog is created, and
that only glimpses a tail here, a claw here, a whisker there, might be visible in the cloud.
For the cloud itself has no edges, but billows out into imperceptibility, eternally
omnipresent, persistently opaque.

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42 Hollis, Rangituhia, et al, Puehu: Cultural Dust. http://puehu.tumblr.com/. Accessed August 5, 2012.
43 Colas, Telling True Stories, 50, (my italics).
44 Ibid, 62.
45 Bird, Circumventing the Grand Narrative, 196.
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