In Pym (2011), Mat Johnson focuses on the role of consumerism in producing and reproducing ideologies of race. His critique of an implicitly racialist postmodern consumerism has two main vehicles. One is an African American character's serial consumption of Little Debbie snack cakes. Whiteness, addiction to junk food, and the attempt at fulfillment through the passionate engagement with consumer culture come to be inextricably bound in the figure of Little Debbie. His other main vehicle is the "Dome of Light," a "bioDome" located in the Antarctica, which parodies the inner logic of American consumerism as a simulacrum. The owner of the "Dome of Light," Thomas Karvel, a popular, right-wing American artist, attains a sense of omnipotence as an artist and entrepreneur through the erasure of raced and gendered laboring bodies from his simulated world. Through the figure of Karvel, Johnson connects the relativism of late capitalist consumerist culture to the rejection of science and the erasure of the laboring body that centers contemporary American conservative ideology.

中文翻译：

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小黛比，或晚期资本主义的逻辑：Mat Johnson 的 Pym 中的消费主义、白度和成瘾

在 Pym (2011) 中，Mat Johnson 关注消费主义在生产和复制种族意识形态中的作用。他对含蓄的种族主义后现代消费主义的批评有两个主要载体。一个是非裔美国人角色对小黛比小吃蛋糕的连续消费。白人、对垃圾食品的成瘾以及通过对消费文化的热情参与来实现自我的尝试与小黛比的形象密不可分。他的另一个主要载体是“光之穹顶”，这是一个位于南极洲的“生物穹顶”，它模仿了美国消费主义的内在逻辑。“光之穹顶”的拥有者，著名的美国右翼艺术家托马斯·卡维尔（Thomas Karvel），通过从他的模拟世界中消除种族和性别的劳动身体，获得了作为艺术家和企业家的无所不能的感觉。通过卡维尔的形象，约翰逊将晚期资本主义消费主义文化的相对主义与对科学的拒绝和对以当代美国保守意识形态为中心的劳动体的抹杀联系起来。