R eclaiming the Discarded is a cautionary tale on the dangers of unfettered urbanization and how the materiality of waste shapes social geographies. Kathleen Millar examines the refuse of capitalist production, where all that stands between salvageable material and the truly “unusuable” is an army of pickers (catadores) drawn from the urban poor on the periphery of the periphery. As “fast cities” emerge and metropolises become megalopolises, the issues Millar raises shed light on the social and political tensions acutely felt by those whose livelihoods depend both on the byproducts of capitalism and on state neglect. That in itself makes Reclaiming the Discarded a fascinating read. What makes this work truly engaging is its textured depiction of resilience in the face of unrelenting structural violence in Brazil, making it a perfect bookshelf companion to powerhouse ethnographies like Donna Goldstein’s Laughter Out of Place (2003) and João Biehl’s Vita (2005). The ethnography begins with an unremarkable trip to Jardim Gramacho, a neighborhood and site of one of the largest open-air trash dumps (aterro) in the world. On the outskirts of Rio de Janeiro, in the Baixada Fluminense, the neighborhood of Jardim Gramacho has been plagued by poverty, violence, and neglect. Yet, unlike the hillside favelas near Rio’s city center and tourist attractions, few people beyond the residents and the reigning drug cartel Comando Vermelho were aware of its existence until the dump became the focus of art projects and films (culminating in an Oscarnominated documentary, Wasteland, in 2010). Prior to closing in 2012, the dump received 8,000 tons of garbage each day—but not all of the trash went there to die. Every day, thousands of catadores worked to salvage

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回收被丢弃的东西：Kathleen M. Millar 在里约垃圾场上的生活和劳动

回收被丢弃者是一个关于不受约束的城市化的危险以及废物的物质性如何塑造社会地理的警示故事。凯瑟琳·米勒 (Kathleen Millar) 考察了资本主义生产的垃圾，在那里，介于可回收材料和真正“无法使用”的材料之间，只有从外围城市的贫民中抽取的一群拾荒者（catadores）。随着“快速城市”的出现和大都市变成大都市，米勒提出的问题揭示了那些生计依赖于资本主义副产品和国家忽视的人所强烈感受到的社会和政治紧张局势。这本身就使《回收被丢弃者》成为一本引人入胜的读物。使这部作品真正吸引人的是它在巴西无情的结构性暴力面前对韧性的有质感的描绘，使它成为强大的民族志的完美书架伴侣，如 Donna Goldstein 的 Laughter Out of Place (2003) 和 João Biehl 的 Vita (2005)。民族志始于对 Jardim Gramacho 的一次平凡之旅，这是世界上最大的露天垃圾场 (aterro) 之一的街区和遗址。在里约热内卢郊区的 Baixada Fluminense 附近，Jardim Gramacho 社区一直饱受贫困、暴力和忽视的困扰。然而，与里约市中心和旅游景点附近的山坡贫民窟不同，除了居民和统治毒品卡特尔 Comando Vermelho 之外，很少有人意识到它的存在，直到垃圾场成为艺术项目和电影的焦点（最终获得奥斯卡提名的纪录片《荒原》） ， 在2010年）。在 2012 年关闭之前，垃圾场收到了 8 个，每天有 000 吨垃圾——但并不是所有的垃圾都去那里死了。每天，成千上万的catadores努力打捞