Reviewed by:

• Rising Up, Living On: Re-Existences, Sowings, and Decolonial Cracks by Catherine E. Walsh
• Maryam Ivette Parhizkar

Catherine Walsh’s richly braided contribution to decolonial thought and praxis tells the stories of human struggle that fracture the matrix of power constituting coloniality. Completed in Ecuador in 2022 during the Indigenous-led national strike and the globally ravaging effects of the COVID-19 pandemic, Walsh reflects on the lessons learned from bearing witness to decolonial struggles over the course of her five-decade career. She does so by foregrounding these struggles as re-existence: a word that Afro-Colombian thinker Adolfo Albán Achinte used to describe the dignifying mechanisms within Black social life that not only resist, but assert and transform life against colonial threat of systemic violence, dispossession, and de-existence at large. In doing so, Rising Up and Living On asks its readers to take part in the work of unsettling coloniality by walking with the present-day colonial struggles in Abya Yala and throughout the globe and to reflect, in turn, on where their own stories reside within this task.

This book’s methodology extends the importance of relationality in Walsh’s life-long commitment to decolonial pedagogy, spanning her years as a feminist anti-racist early childhood educator in Massachusetts to her present-day directorship of Latin American Cultural Studies at the Universidad Andina Simón Bolívar in Ecuador. If coloniality is “embodied, situated, and lived” (4), as Walsh reiterates throughout her introduction, then part of the work of cracking coloniality is to write one’s own story while thinking alongside the embodied and situated stories of others who persist in struggle. Walsh is explicit about her roots as a white working-class woman raised on dispossessed Nipmuc land, as well as her humbling transformation in walking with those who have risen up and persisted in life against the colonial intertwinement of “violence-dispossession-war-death” (7). She also emphasizes the relationality at the heart of the book, comprised of a compendium of autobiography, letters, notes, and empirical reflections, while also thinking with a wide plurality of Indigenous, Afro-descendent, and other anti-colonial and decolonial thinkers: “authors, artists, students present and past, ancestor-guides, intellectual militants and activists, and political-epistemic, collective, communal, and community-based subjects, processes, practices, actions, and movements” (10).

In weaving these multiplicities together, Walsh takes part in the work of cracking coloniality––the [End Page 586] book’s central, anchoring metaphor. Chapter 1, “Cries and Cracks,” delves into this metaphor by thinking about the polyvocal chorus of “cries” that fissure the seemingly impenetrable wall of colonial power. Interspersed with her own reflections on refusing silence in spite of threat, Walsh gives an empirical account of the state, capitalist, and extra-legal violences of recent decades that have murdered and disappeared people throughout the Americas––most notably the 2014 Ayotzinapa massacre in Mexico, but also the increase of femicides and anti-Black murders throughout the hemisphere. Here Walsh argues that cries of outrage against unimaginable brutality––most broadly understood as the expressive refusal to be silenced––are part of the work of debilitating coloniality’s wall.

Her opening chapter begins with an epigraph from “Who Decides,” a widely performed protest poem against police violence by Brooklyn-based spoken-word duo Climbing PoeTree. The epigraph highlights the ways Walsh traces the power of creativity in debilitating the brutal violence of the state against those who resist it throughout her text. In a final section focused on arts across the hemisphere, Walsh offers a moving inventory of cries that have manifested in the artistic labors of the Zapatistas (notably Zapantera Negra, their collaboration with Black Panther Party Minister of Culture Emory Douglas and artist Caleb Duarte), Muxe artist Lukas Avendaño, and Nasa Misak child author Violeta Kiwe Rozental Almendra. Walsh repeatedly makes clear that these acts of crack-making are not solutions to “coloniality’s permanence and hold,” nor are they quite utopic pursuits of hope or antidotes to despair; rather, they are a strategic...

审阅者：

• 《崛起，继续生存：重新存在、播种和去殖民主义裂缝》凯瑟琳·E·沃尔什 (Catherine E. Walsh)
• 玛丽亚姆·伊维特·帕希兹卡

凯瑟琳·沃尔什对非殖民思想和实践的丰富贡献讲述了人类斗争的故事，这些故事打破了构成殖民性的权力矩阵。沃尔什于 2022 年在厄瓜多尔完成，当时正值原住民领导的全国罢工和 COVID-19 大流行在全球造成的破坏性影响，沃尔什反思了她在五年职业生涯中见证非殖民斗争所获得的经验教训。她通过将这些斗争强调为“重新存在”来做到这一点：非裔哥伦比亚思想家阿道夫·阿尔班·阿钦特用这个词来描述黑人社会生活中的尊严机制，这些机制不仅抵抗，而且维护和改变生活，以应对系统性暴力、剥夺的殖民威胁。 ，并普遍消失。为此，《崛起与生活》要求读者参与阿比亚亚拉和全球当今殖民斗争，参与令人不安的殖民主义工作，并反过来反思自己的故事所在在此任务内。

本书的方法论扩展了沃尔什一生对非殖民主义教育学的承诺的重要性，从她在马萨诸塞州担任女权主义反种族主义幼儿教育家到目前在安迪纳·西蒙·玻利瓦尔大学担任拉丁美洲文化研究主任。厄瓜多尔。如果正如沃尔什在整个引言中所重申的那样，殖民性是“体现、定位和生活的”（4），那么破解殖民性的部分工作就是写自己的故事，同时思考那些坚持斗争的其他人的体现和定位的故事。沃尔什明确地讲述了她作为一名在被剥夺的尼普穆克土地上长大的白人工人阶级女性的出身，以及她与那些奋起反抗“暴力-剥夺-战争-死亡”的殖民统治并坚持生活的人们一起走过的谦卑转变。 ”（7）。她还强调了本书核心的关联性，由自传、信件、笔记和经验反思的纲要组成，同时也与众多土著、非洲人后裔以及其他反殖民和非殖民思想家进行了思考： “现在和过去的作家、艺术家、学生、祖先指导者、知识激进分子和活动家，以及政治认知、集体、公共和基于社区的主题、过程、实践、行动和运动”（10）。

在将这些多样性编织在一起的过程中，沃尔什参与了破解殖民主义的工作——这本书的核心隐喻是[第586页] 。第一章“哭声与裂缝”通过思考“哭声”的多声合唱深入探讨了这个隐喻，这些“哭声”使看似坚不可摧的殖民权力之墙出现裂痕。沃尔什穿插着她自己对尽管受到威胁而拒绝保持沉默的反思，对近几十年来在美洲各地造成人员谋杀和失踪的国家、资本主义和法外暴力进行了实证描述——最引人注目的是 2014 年发生在美国的阿约齐纳帕大屠杀。墨西哥，而且整个西半球杀戮女性和反黑人谋杀案也有所增加。在此，沃尔什认为，对难以想象的暴行的愤怒呼声——最广泛地理解为表达性地拒绝保持沉默——是削弱殖民主义隔离墙的一部分。

她的开篇以《谁决定》中的一段题词开头，这是一首由布鲁克林口语二人组 Climbing PoeTree 广泛表演的反对警察暴力的抗议诗。这段铭文强调了沃尔什在整个文本中如何追踪创造力的力量，以削弱国家对那些反抗者的残酷暴力。在最后一部分重点关注整个半球的艺术中，沃尔什提供了萨帕塔主义者艺术劳动中所体现的感人呐喊（特别是萨帕特拉·内格拉，他们与黑豹党文化部长埃默里·道格拉斯和艺术家凯莱布·杜阿尔特的合作）， Muxe 艺术家 Lukas Avendaño 和 Nasa Misak 儿童作家 Violeta Kiwe Rozental Almendra。沃尔什一再明确表示，这些制造裂缝的行为并不是解决“殖民性永久存在和维持”的办法，也不是对希望的乌托邦追求或绝望的解药；相反，它们是战略性的...