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Front Matter -- Introduction -- Why Marxism and Style? -- From State Censorship to the Poetry of the Future: Style in the Marxist Tradition -- Mimesis from Plato to Ricoeur -- Overture: Patricide; or, Reformism Versus Revolution -- Style in Prose Fiction: A Preliminary Definition -- Raymond Williams: Style between Immanence and Naturalism -- Intermezzo: Style and the Meaning of 'Politics' and 'Culture' -- Terry Eagleton: The Political Theology of Style -- Fredric Jameson: Epic Poet of Postmodernity -- Coda: New Styles for New Social Relations -- A General Marxist Theory of Style -- Conclusion -- Bibliography -- Indexes.

This article explores the interrelationship of style, interpellation and impersonality in the writings of Denise Riley. Part one performs a detailed reading of Riley's essay 'Malediction', focussing on her theory of interpellation and her visceral sense of the materiality of language. It articulates the philosophical stakes of the essay by taking seriously its sustained, playful engagement with Hegel's Phenomenology of Spirit, and by emphasising the intrinsically Spinozist and dramaturgical elements of Althusser's theory of interpellation. It also seeks to elucidate the philosophical and political import of Riley's own critical style, which combines Stoicism (an 'ethics' in the broad sense), a materialist philosophy of language, and a distinctive poetics. The second part explores Riley's theory of style and literary composition. It engages with Riley's notions of ventriloquy and autoventriloquy, suggesting that her approach to style tends to stress the writer's guilty susceptibility to words. The final part considers Riley's elegy 'A Part Song' and the fraught manner in which grief accentuates contradictions endemic to style and authenticity alike. It argues that Riley harnesses the tensions of echo and interpellation to produce a poem that functions as much on the level of semi-conscious poetic association as via the interpellative mode of apostrophe.

Abstract
This article locates Fredric Jameson's Allegory and Ideology (2019) in the context of the broader trajectory of his career-long critique of the bourgeois centred subject. It argues that, for Jameson, the project of critique requires systematic depersonalisation at the level of thought. Contrary to negative liberal humanist interpretations of depersonalisation, Jameson stresses its hidden, revolutionary potential. Where his earlier work eschewed metanarratives of modernity premised upon shifts in subjectivity, preferring conjunctural or situational analyses, his more recent work – Antinomies of Realism (2013) and Allegory and Ideology in particular – develops a materialist version of just such metanarratives. The article concludes with a detailed application of Jameson's allegorical method to the figure of the 'person' under capitalism, which can be sub-divided into the four levels of: individual, citizen/juridical person, infrastructural personifications, and the realm of social reproduction.

A number of studies have explored the relationship between public housing policy, poverty, and crime. This Commentary discusses the results of a recent study, which investigated the effects of closing large public housing developments on crime. To see if the demolitions—and the associated deconcentration of poverty—reduced crime or merely displaced it, researchers examined the case of Chicago. They found that closing large public housing developments and dispersing former residents throughout a wider portion of the city was associated with net reductions in violent crime, at the city level.

Many Rust-Belt cities have seen almost half their populations move from inside the city borders to the surrounding suburbs and elsewhere since the 1970s. As populations shifted, neighborhoods changed—in their average income, educational profile, and housing prices. But the shift did not happen in every neighborhood at the same rate. Recent research has uncovered some of the patterns characterizing the process.

Peter Thomas's The Gramscian Moment provides a definitive rebuttal of Perry Anderson's and Louis Althusser's influential critiques of the work of Antonio Gramsci. Throughout the course of the book, which ranges from discussions of the literary form of the Prison Notebooks to explications of the concepts of 'passive revolution' and the 'integral state' he demonstrates that Gramsci's work is characterized by 'absolute historicism', 'absolute immanence' and 'absolute humanism'. Hegemony, that is, constitutes a 'metaphysical event' or a 'philosophical fact': the passage between these last two conceptions delineates the 'Gramscian moment' of 1931-1932.