Here’s one for a constituency of close to zero: a few comments on how Bakhtin’s work does/n’t apply now. I might argue that in today’s (basically) wipipo pretty much can’t exist in the same sentence as the carnivalesque because of their structurally dominant position; or that it’s playing out on a radically different plane, not in immediate festivals, but in the forms of all kinds of trans-ish plays with barnacled distinctions. But even those models use difference in an effort to to confirm some dignifying, abstract lineage. We don’t need any more of that; we need to join in learning what could be.