In a time of instant archiving and ongoing planetary collapse, literature’s engagement with the archive no longer automatically has the political purchase it had as late as the end of the twentieth century. If the first half of this double special issue foregrounded how contemporary literature is coming to grips with this new archival landscape, this second half sees it attempt to reimagine political agency at a time when the Earth has become a massive archive of human mismanagement and when the imprints of the past are instantly available in digital data streams and can no longer be heroically recovered. For a clear instance of how literature’s archival work used to accrue moral and political capital until a few decades ago, we can turn to Toni Morrison’s 1987 Beloved, her novel based on the story of Margaret Garner, a slave mother who had killed one of her children. The Garner case gained some notoriety in the 1850s, but was largely forgotten by the time Morrison, then working as a senior editor at Random House on a book of essays commemorating Black history, came across a newspaper article in 1973 (Reinhardt x). It was the very absence of the case from public memory that gave Morrison the freedom to “invent [Garner’s] life” (Darling 5), and that enabled Beloved to serve as a catalyst for further archival research, which has since come to inform a number of documentary and narrative histories of the case (Reinhardt; Taylor; Weisenburger). Beloved can also take credit for relaunching Garner’s story in the public imagination, giving rise to a 1998 film featuring Oprah Winfrey and a 2005 opera for which Morrison herself wrote the libretto. In 2019, Garner’s posthumous vindication was complete: the New York Times included Garner in its “Overlooked” series, which features prominent people who, not being white and male, never received obituaries in the paper. This confirmed Morrison’s conviction that literature could play a momentous role in reorganizing the archive and realigning public memory. This confidence is on display in her novel’s infamous dedication to “Sixty

中文翻译：

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文学政治，档案政治

在即时归档和持续行星崩溃的时代，文学与档案馆的交往不再自动具有二十世纪末以来的政治购买权。如果这个双重特刊的前半部分展示了当代文学如何适应这种新的档案格局，那么下半部分将看到它试图在地球已成为人类管理不善的庞大档案库以及当全球范围内的人类管理不善的时代重新构想政治机构。过去的烙印可在数字数据流中立即获得，并且不再可以英勇地恢复。要清楚地了解直到几十年前文学档案工作是如何积累道德和政治资本的，我们可以参考托尼·莫里森（Toni Morrison）1987年的小说《爱人》（Beloved），该小说基于玛格丽特·加纳（Margaret Garner）的故事，一个杀死了一个孩子的奴隶母亲。加纳案在1850年代声名狼藉，但在莫里森（Morrison）1973年在报纸上发表过一篇文章（Reinhardt x）时被莫里森遗忘了。正是由于缺乏公共记忆的案例，才使莫里森有“发明（加纳的）生活”的自由（达林5），并使Beloved能够作为进一步档案研究的催化剂，此后便为该案的纪录片和叙事历史的数量（莱因哈特；泰勒；魏森伯格）。心爱的人也可以因在公众的想象中重新发布加纳的故事而受到赞誉，这引起了1998年的电影《奥普拉·温弗瑞》和2005年的歌剧的演出，莫里森本人为此写了歌剧。在2019年 Garner的死因辩护是完整的：《纽约时报》将Garner纳入其“被忽视”系列中，该系列的主要人物是非白人和男性的杰出人物，他们从未在报纸上发表in告。这证实了莫里森的信念，即文学可以在重组档案馆和调整公共记忆方面发挥重要作用。她的小说臭名昭著的“六十”表达了这种信心。