FOREWORD.
Donna Haraway
cat’s cradle is a game of relaying patterns, of one hand, or a pair of
hands, holding still to receive something from another, and then relaying
by adding something new, by proposing another knot, another web. Or
better, it is not the hands that give and receive exactly, but the patterns,
the patterning. Cat’s cradle can be played by many, on all sorts of limbs, as
long as the rhythm of accepting and giving is sustained. Scholarship is like
that too; it is passing on in twists and skeins that require passion and
action, holding still and moving, anchoring and launching. Maybe that is
why Katie King is such a good partner in worlding. Over three decades, she
has been that kind of partner for me, and Networked Reenactments is an
invitation to readers to join in thick, collaborative patterning. Networked
reenactments is her practice for sf worlding, for speculative fabulations
and speculative feminisms in the big, generous knottings that open up
ways to think, play, connect, distinguish, work, and live.
Recently, King named ‘‘epistemologies’’ as ‘‘stories knowledges tell.’’∞
That is what Networked Reenactments does; this important book performs
‘‘stories knowledges tell’’ with great skill, in different material and concep-
tual grains of detail and resolution. She shows her readers how to ask what
‘‘grain of detail’’ might mean in situated inquiries. She writes about ‘‘epis-
temological melodramas’’ with verve and appreciation, and she is herself
a master weaver of these grainy stories. A geometrician at heart, King
thinks about whether a pattern is linearly layered or nodally networked
and how that makes a difference. She appreciates, practices, and theorizes
both ‘‘intensive’’ scholarship, with its demands for considerable focused
and exclusive expertise, and ‘‘extensive’’ scholarship, with its powers of
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