A review of Intoxicated: Race, Disability, and Chemical Intimacy across Empire, Mel Y. Chen, Duke University Press, 2023.
Mel Y. Chen’s Intoxicated: Race, Disability, and Chemical Intimacy across Empire is a critical exploration of how race, disability, and sexuality intertwine through the lens of toxicity and intoxication. As a scholar whose work spans queer theory, critical race studies, disability studies, and more, Chen crafts a text that is both intellectually rigorous and deliberately disorienting, challenging readers to rethink conventional frameworks of knowledge production. This “strange book,” as Chen describes it, is not meant to offer neat conclusions but aims to unsettle, agitate, and invite readers into an “intoxicated method” of unlearning and reimagining. It is based on autobiography and personal experience rather than the constraining textures of academic disciplines. In their first book, Animacies: Biopolitics, Racial Mattering, and Queer Affect, which I reviewed here, Mel Y. Chen identified themselves as Asian American, queer, and suffering from a debilitating illness. They adopted the gender-neutral pronoun “they” or “them” to refer to oneself in the third person of the singular and gave some elements of their biography: growing up in a white-dominated town in the Midwest when they used to hear racist slurs thrown at them; being a first-generation student in a California college while their Chinese immigrant parents could barely master standard English; alluding to a female love partner while referring to their own queerness or kinkiness; mentioning various mental and physical impairments, among which multiple chemical sensitivity due to heavy metal poisoning.
A second book
Ten years later, and after having edited a primer on Crip Genealogies in the same academic publishing house (also reviewed here), Mel Chen is back in the game with a “second book” that bears the mark of the genre: less experimental and risk-taking, more assured in the legitimacy of its intellectual position, but also based on more limited archival research or fieldwork, also with a fair deal of repetition and cross-references. The autobiographical elements are still there: again, Mel Y. Chen defines themselves as neurodivergent (“even if I have an unstable relationship with the linguistic signification of this term”) and suffering from various ailments (“my asthma, my bleeding, my sickness”; “rolling migraines”). They survived a car accident in 1999 but “my knee and hip remain quirky.” They confess of being consecutively “slow” and “agitated,” alternating between bouts of “agitated reading, slow thinking, agitated writing, slow reading, agitated thinking, slow writing.” Perpetually experiencing a “brain fog,” Chen doesn’t often get stoned or high on drugs, but they confess they did on a particular occasion, which made them feel a lot better. It is not clear why Chen discloses all these autobiographical elements—“despite being a very private person,” they confess—, but the reason may have to do with campus politics as it is practiced in North American universities. There, academics state their positionality and indicate “from where they speak” in order to acknowledge how their personal identities, experiences, and social locations shape their research process and findings. Intoxicated is more concerned with “the politics of knowledge in the academy” than in autobiography per se. Mel Y. Chen positions themselves in the classroom or the lecture hall and tells of various interactions with the public. They describe talking back to contradictors on the use of non-binary pronouns (they/them/theirs) or confronting their feeling of compassion for people with disabilities, which Chen personally finds sickening.
Intoxicated is structured with an introduction, three chapters, and an “Afterwards,” each engaging with the concept of intoxication as a mode of understanding the entanglements of empire, race, and disability. Chen draws on nineteenth-century biopolitical archives from England and Australia, examining how colonial powers constructed racialized and disabled subjects through discourses of toxicity. Key examples include English scientist John Langdon Down’s characterization of intellectual disability (then termed “mongoloid idiocy”) as an “Asian interiority” and Queensland’s targeting of Aboriginal peoples under the guise of regulating black opium. These historical cases anchor Chen’s broader argument that intoxication—both literal and metaphorical—shapes marginalized subjects, often marked by “slowness” or agitation. The book’s chapters are not traditional case studies but rather “slantwise” explorations that weave together archival analysis, personal anecdotes, art, and contemporary political moments. Chapter 1, “Slow Constitution,” connects Down syndrome to colonial logics of development, revealing how racial and disability discourses converge. Chapter 2, “Agitation as a Chemical Way of Being,” explores opium’s role in imperial governance, while Chapter 3, “Unlearning: Intoxicated Method,” proposes intoxication as a reflexive, non-linear approach to knowledge. The “Afterwards” reflects on the ongoing reverberations of these entanglements, urging readers to embrace ambiguity over closure.
An intoxicated method
Chen’s greatest strength lies in their refusal to conform to traditional academic norms. The “intoxicated method” is a bold critique of linear, extractive scholarship, favoring instead a diffuse, atmospheric approach that mirrors the porous nature of toxicity itself. This method is particularly compelling in Chen’s analysis of historical archives, where the author illuminates how colonial administrations used intoxication to racialize and disable subjects. For instance, Chen’s discussion of Down’s racialized framing of intellectual disability is a revelatory critique of Western racial science in the 1870s, showing how disability was constructed as a “throwback” to a “primitive” Asian race. The reference to “Mongolism” or “Mongolian idiocy,” officially replaced by the medical category “Down syndrome” in 1972, is by no means a thing of the past: it still lingers in peoples’ minds, shaping attitudes and perceptions. It equates Asian features with disability, insulting both communities: Asians via racial caricature, and people with Down syndrome via dehumanizing pathologization. For Chen; this racist slur also has a personal feel: as an Asian American, “this was something I’d grown up with.” But perhaps more offensive that racial slurs and micro-aggressions was the feeling of compassion and empathy that they encountered at various stages of their research. Visiting the archives of British clinician John Langdon Down, best known for his description of the genetic condition that was later named after him, the author heard the librarian trying to exculpate the eminent physician for his use of the term “mongoloid”: “Of course, people didn’t know better at the time.” Similarly, during a seminar in South Africa, a white middle-aged woman came to the lecturer to argue that early concerns for disabled peoples were inspired by care and compassion, and that they should be redeemed as such. In these awkward situations, Chen is very attentive to eyes movements: people trying to evade the author’s gaze, or trying to lock vision with moisty and pleading eyes. For Chen, “some of these moments feel so queasy and out of time that they threaten being beyond inquiry, beyond mention.”
Mel Y. Chen is very sensitive to any reference to toxicity in the archives, especially when they relate to race and disability. As an abundant scholarship has established, indigenous peoples and racial minorities often face disproportionate exposure to toxic chemicals, a pattern known as environmental racism. Ethnic minorities in the US experience higher ambient air pollution, higher rates of toxic pollution from minerals (lead, mercury, cyanide) or from agribusiness pesticides, and have less access to affordable medical care. Other instances of intoxication in relation to race include the alcoholic proclivity among Native Americans or Pacific Islanders, or the infamous legacy of the opium trade in China. The overlap between race and debility has also been well documented and by no means limits itself to the case of the “mongoloid” designation. For Mel Y. Chen, the association of certain racial characteristics with cognitive deficiency continues insidiously in the United States and elsewhere: “Disability continues to lurk in the description of races and may lurk in the defining theme of race itself, race as a colonial trope of incapacity.” Less noticed is the role of toxicity in relation to debility and disablement. Chemicals like lead, mercury, benzene, pesticides, and solvents disrupt neurological, respiratory, and organ function, leading to lifelong impairments. Prenatal or early childhood exposure can contribute to developmental delays and mental retardation. Mel Y. Chen triangulates these three tropes of analysis into a race-disability-intoxication nexus. “Intoxication, they note, often lurk in scenes where race and disability come together” (one could add add sexuality, or queerness, to this conundrum). Chen puts great emphasis on the fact that nineteenth-century physician John Langdon Down used opium to sedate some of his disabled patients in his English clinic (although that must have been standard practice at the time). The opium trade, in its chemical, racial, and debilitating dimensions, is another instantiation of this triangle that stands at the core of Intoxicated.
The race-disability-intoxication triangle
The book’s interdisciplinary scope is another strong point. Chen seamlessly integrates critical ethnic studies, queer theory, and disability studies, while also engaging with art, pop culture (e.g., zombies as disabled figures), economics (“toxic assets” threatening financial health), and personal narratives. This expansive approach makes the book a rich text for scholars across fields, particularly those interested in how toxicity operates as a biocultural and political force. Critical race studies scholars will find in Intoxicated and its intersection of overlapping figures(Asian, disabled, intoxicated) a sharp contrast to the image of the Asian American as a model minority. The “model minority” figure, or myth, has been central to Asian American Studies as both a foundational critique and a persistent object of analysis. It shaped the discipline by prompting scholars to debunk stereotypes and reveal intra-group disparities. Associated to the model minority figure are the invisibility of Asian populations in the US context, their supposed discretion and effectiveness in the classroom or at the workplace, as well as the frailed masculinity of Asian men and the docile feminity of Asian women. The model minority model portrays Asian men as desexualized, emasculated, or effeminate; hardworking but passive, lacking leadership or physical prowess. Conversely, Asian women face hypersexualization as aggressive “Tiger Moms,” submissive Madam Butterfly, exotic Lotus Blossoms or seductive dragon ladies. The least one can say is that Mel Y. Chen doesn’t fit this model minority slot. To the docile and obedient figure of the Asian American student or scholar, they oppose “agitation as a chemical way of being.” The book crafts a different place for Asian Americans or for Asians, more rebellious and committed to the affirmation of each individual’s identity. More exposed to toxic attacks and poisonous libels, this non-normative identity is also paradoxically more resilient.
Chen’s affirmative stance on queer/crip forms of learning and unlearning is also noteworthy. Rather than framing intoxicated subjects as mere victims of pollution or failure, Chen celebrates their capacity for worldmaking under imperialism. This perspective is refreshing, offering a hopeful counterpoint to the often grim realities of colonial violence. Much like “queer” reclaims a slur for LGBTQ+ identities, people claim “crip” (a reclaimed slur for “cripple”) as a disability identity to express pride, reject ableism, and build community solidarity. Both draw from theory and are firmly rooted in academia: crip theory adapts queer methods to undo mainstream practices, revealing ableist exclusions. Professors routinely foster “agitation” through discussions that unsettle students’ assumptions—critiquing compulsory able-bodiedness or binary identities. Crip and queer pedagogies use fluidity and “crip time” to co-construct access, rejecting rigid norms of proper behavior. Chen welcomes, even encourages, agitation in the classroom. “When I begin classes or deliver talks, they note, I have developed the practice of opening them with an invitation to be otherwise.” Students are allowed “to rock, to twitch, to stand when others are not standing or to sit when others are standing.” Illegitimated expressions, such as wrong or slow cognition and agitated gesture, or incoherent behavior, usually end in the exclusion from places of higher learning. “Cognitive or intellectual disability—and its broad matrix of cognitive variation—is the near unthinkable for academia.” And yet some characterization of neuroatypicality seems standard for academics, whose work often gravitates towards solitary research, deep focus, and contestation of accepted theories. Differences should be celebrated, not frown upon, in an environment devoted to the production of new ideas and unconventional methods.
Here’s to the crazy ones
Despite its brilliance, Intoxicated is not without flaws. Its experimental style and compressed length (190 pages) can leave readers disoriented. Some readers may express frustration with the book’s “jumpy” pacing and lack of clarity around key concepts like “chemical intimacy.” While Chen’s intention is to resist “thorough aboutness,” this approach risks alienating readers who seek more concrete definitions or sustained analysis. For example, one may get the impression that the book’s most compelling moments—such as personal anecdotes or detailed historical discussions—are often too brief, overshadowed by dense theoretical detours. Additionally, the book’s ambitious scope can feel overwhelming. Chen’s attempt to cover vast temporal and thematic ground—spanning centuries, continents, and disciplines—sometimes sacrifices depth for breadth. Readers hoping for a focused exploration of environmental racism, for instance, may find the emphasis on intoxication diffuse. Intoxicated is best suited for graduate students, scholars, and readers comfortable with dense, theoretical texts and non-linear arguments. It is not an easy read, but its rewards lie in its ability to unsettle and inspire. For those studying race, disability, or empire, Chen’s work is a brilliant, if challenging, invitation to rethink how we engage with the toxic legacies of colonialism. I recommend approaching it with patience, ready to embrace its ambiguities as part of its intoxicated method.
How to witness a drone strike? Who—or what—bears witness in the operations of targeted killings where the success of a mission appears as a few pixels on a screen? Can there be justice if there is no witness? How can we bring the other-than-human to testify as a subject granted with agency and knowledge? What happens to human responsibility when machines have taken control? Can nonhuman witnessing register forms of violence that are otherwise rendered invisible, such as algorithmic enclosure or anthropogenic climate change? These questions lead Michael Richardson to emphasize the role of the nonhuman in witnessing, and to highlight the relevance of this expanded conception of witnessing in the struggle for more just worlds. The “end of the world” he refers to in the book’s title has several meanings. The catastrophic crises in which we find ourselves—remote wars, technological hubris, and environmental devastation—are of a world-ending importance. Human witnessing is no longer up to the task for making sense, assigning responsibility, and seeking justice in the face of such challenges. As Richardson claims, “only through an embrace of nonhuman witnessing can we humans, if indeed we are still or ever were humans, reckon with the world-destroying crises of war, data, and ecology that now envelop us.” The end of the world is also a location: Michael Richardson writes from a perch at UNSW Sydney, where he co-directs the Media Futures Hub and Autonomous Media Lab. He opens his book by paying tribute to “the unceded sovereignty of the Bidjigal and Gadigal people of the Eora Nation” over the land that is now Sydney, and he draws inspiration from First Nations cosmogonies that grant rights and agency to nonhuman actors such as animals, plants, rocks, and rivers. “World-ending crises are all too familiar to First Nation people” who also teach us that humans and nonhumans can inhabit many different worlds and ecologies. The world that is ending before our eyes is a world where Man, as opposed to nonhumans, was “the unexamined subject of witnessing.” In its demise, we see the emergence of “a world of many worlds” composed of humans, nonhumans, and assemblages thereof.
In April 2015, the Institut Français in Hanoi held a photography exhibition, Reporters de Guerre (War Reporters), marking the fortieth anniversary of the end of the Vietnam War. Curated by Patrick Chauvel, an award-winning photographer who had covered the war for France, the exhibition showcased the work of four North Vietnamese photographers (Đoàn Công Tính, Chu Chi Thành, Tràn Mai Nam, and Hùa Kiêm) whose documenting of the Vietnam War was often overshadowed by photographers from the Western press working from the South. The poster for the cultural event at L’Espace used an iconic image: a black-and-white picture of North Vietnamese soldiers climbing a rope against the spectacular backdrop of a waterfall, taken in 1970 along the Ho Chi Minh trail. Đoàn Công Tính, the photographer, had caught a moment of timeless beauty and strength, an image of mankind overcoming physical hindrances and material obstacles in the pursuit of a higher goal. However, a scandal erupted when Danish photographer Jørn Stjerneklar pointed out on his blog that this iconic image was doctored. He compared two versions, the recent print that appeared in the exhibition and the “original,” which was published in Tính’s 2001 book Khoảnh Khắc (Moments). Tính apologized profusely for “mistakenly” sending the photoshopped image, claiming that the original negative had been damaged and that he accidentally included a copy of the image with a photoshopped background in a CD to the exhibition’s organisers. But in a follow-up article on his blog, Stjerneklar pointed out that even the “original” had been retouched, as evidenced by the repeating pattern of the waterfall, and was likely a montage of another photograph which is displayed at the War Remnants Museum in Ho Chi Minh City. Stjerneklar’s story was picked up worldwide and ignited a lively debate around the presumed objectivity of photojournalism and the role of photography in propaganda.
Brian Massumi owes his career to his ability to translate obscure texts into plain English, and to his penchant for doing the reverse. His first notoriety came from bringing Deleuze and Guattari’s A Thousand Plateaus to an English-speaking audience. Without him, what became an essential text for feminists, literary theorists, social scientists, philosophers, and avant-garde artists may have remained a local event, known only to the francosphere. His meticulous translation from French into English proved that translating untranslatable language constitutes a challenge, not an impossibility. He may have understood Deleuze and Guattari’s work better than they understood it themselves: going through the detour of a foreign language allowed the text to shed some of its obscurities, and to take on new ones as the translator engaged in his own rap and wordplays. Meaning always exceeds linguistic conventions contained in national boundaries and syntaxic rules. In this case, the obscure clarity of A Thousand Plateaus inspired many creators beyond the field of continental philosophy. References to Deleuze and Guattari’s work can be found in literary artworks, blockbuster movies, electronic music, and even in financial theory and military thinking. Massumi was both a translator and an interpreter of Deleuzian philosophy: his User’s Guide to Capitalism and Schizophrenia remains the most accessible and playful introduction to one of the major intellectual achievements of the late twentieth century. If, as Michel Foucault prophesied, the twenty-first century will be Deleuzian, it will be in no small part thanks to Brian Massumi and to his role as a translator and a go-between.
“We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.” These truths are no longer self-evident: few people now believe in a Creator ; the inclusion of women in the generic term “all men” has to be specified ; and rights in their modern acceptation are not endowed or bestowed, but conquered and defended. What about Life, Liberty and the pursuit of Happiness? Are they not the expression of an American ideology that is shared by few people, even in the United States? Life itself has become a contested issue, as it hinges on when life starts and ends and some people are claiming a right to death in order to exit life with dignity. The pursuit of happiness was a central theme in Hollywood comedies of the 1930s and 1940s—a time of great unhappiness—, but we now look at these black-and-white motion pictures with nostalgia and irony, while Hollywood has moved to other descriptions of people’s aspirations and beliefs. Most significantly, freedom now has a hollow ring. The “Liberty Bell” march or the “Battle Cry of Freedom” were calls to rally round the flag and show patriotism, but these battle songs were used to legitimate wars of aggression and imperialism that made freedom a mockery of justice and equality. Domestically, the “land of the free” has the highest rate of incarceration in the world. We now speak with less assurance than our forefathers about the rights and values enshrined in declarations of independence or bills of rights. What if they were wrong in proclaiming life, liberty and happiness as our guiding principles? What if the reverse was true? What if freedom was not universally desirable, but “ugly” and repulsive? This is the argument that Elisabeth Anker makes in her book Ugly Freedoms, as she invites us to challenge self-evident truths and commonly believed assumptions.
In Dreadful Desires, Charlie Yi Zhang advocates “a new approach” and “a different perspective” on love and neoliberalism in contemporary China. As he describes it, “My study integrates the discursive with the ethnographic and combines grave scrutiny of political economies and empirical data with upbeat examinations of popular cultures.” His grave and upbeat essay documents how a neoliberal market logic permeates expressions of love and aspirations for a good life, and how a fiercely competitive conjugal market, polarized gender relationships, and residency-differenciated precarities in turn produce willful subjects who are ready to sacrifice their well-being to maximize the interests of the state and capital. Its content and writing style also reflect his personal background and professional training. Having left China in his late twenties to pursue an academic career in the US, Zhang returned to his homeland for a few months of fieldwork in 2012 in order to complete his PhD in gender studies at Arizona State University. He was subsequently hired by the University of South Dakota to teach global studies to undergraduate students for two years, then landed a job as Associate Professor in Gender and Women’s Studies at Kentucky University, where he completed his book manuscript. During his graduate studies, his sociology professor taught him “how to combine different methodologies into [his] unique voice.” He claims to have developed “a novel theoretical and methodological approach” that builds an “epistemic ground for fundamental change.” His ambition is no less than “to lay the foundation for better futures” and “to develop a different understanding of global neoliberalism and to transform the current system.” His book is published in the Thought in the Act series edited by Erin Manning and Brian Massumi, two Canadian theoreticians working at the intersection of philosophy and art critique.
Lesbian feminists invented the Internet, and they did it without the help of a computer. This is the surprising finding that comes out of the book Information Activism: A Queer History of Lesbian Media Technologies, published by Duke University Press in 2020. As the author Cait McKinney immediately makes it clear, the Internet that lesbians built was not composed of URL, HTML, and IP servers: it was an assemblage of print newsletters, paper index cards, telephone hotlines, paper-based community archives, and early digital technologies such as electronic mailing lists and computer databases. What made these early media technologies “lesbian” is that they formed the information infrastructure of a social movement that Cait McKinney describes as “information activism” and that was oriented toward the needs and aspirations of lesbian women in North America during the 1980s and 1990s. And what makes Cait McKinney’s book a “queer history” is that she brings feminism and queer studies to bear on a media history of US lesbian-feminist information activism based on archival research, oral interviews, and participant observation through volunteering in the Lesbian Herstory Archives in New York. Information activism took many forms: sorting index cards, putting mailing labels on newsletters, answering the telephone every time it rings, converting old archives into digital format… All these activities may not sound glamorous, but they were part of the everyday politics of “being lesbian” and “doing feminism.”
“Inanimate objects, have you then a soul / that clings to our soul and forces it to love?,” wondered Alphonse de Lamartine in his poem “Milly or the Homeland.” In Animacies, Mel Chen answers positively to the first part of this question, although the range of affects she considers is much broader than the lovely attachments that connected the French poet to his home village. As she sees it, “matter that is considered insensate, immobile, deathly, or otherwise ‘wrong’ animates cultural life in important ways.” Anima, the Latin word from which animacy derives, is defined as air, breath, life, mind, or soul. Inanimate objects are supposed to be devoid of such characteristics. In De Anima, Aristotle granted a soul to animals and to plants as well as to humans, but he denied that stones could have one. Modern thinkers have been more ready to take the plunge. As Chen notes, “Throughout the humanities and social sciences, scholars are working through posthumanist understandings of the significance of stuff, objects, commodities, and things.” Various concepts have been proposed to break the great divide between humans and nonhumans and between life and inanimate things, as the titles of recent essays indicate: “Vibrant Matter” (Jane Bennett), “Excitable Matter” (Natasha Myers), “Bodies That Matter” (Judith Butler), “The Social Life of Things” (Arjun Appadurai), “The Politics of Life Itself” (Nikolas Rose),“Parliament of Things” (Bruno Latour). Many argue that objects are imbued with agency, or at least an ability to evoke some sort of change or response in individual humans or in an entire society. However, each scholar also possesses an individual interpretation of the meaning of agency and the true capacity of material objects to have personalities of their own. In Animacies, Mel Chen makes her own contribution to this debate by pushing it in a radical way: writing from the perspective of queer studies, she argues that degrees of animacy, the agency of life and things, cannot be dissociated from the parameters of sexuality and race and is imbricated with health and disability issues as well as environmental and security concerns.
This is not a book about Asian sex videos. Indeed, reading Media, Erotics, and Transnational Asia should lead the reader to question why the category “Asian sex video” exists in the first place, why Asian bodies are disproportionately represented in Internet porn, and how we should react to such unregulated flow of images. In fact, none of the entries in this book deals with explicitly erotic content or with pornography, and the only chapter that concerns the Internet as a medium, a study of online discussions about correspondence marriage between the US and the Philippines, insists on rejecting facile analogies with the sex trade or with mail-to-order catalogues. For scholars and for feminists—and most authors in this volume are women—, the erotic has to be distinguished from the sexual. And writing about eroticism should in no way lead to stoke the base instincts of the reader. The erotic extends beyond sex acts or desires for sex acts to become “enmeshed in, for instance, yearnings for upward mobility, longings for ‘the homeland,’ formulations of nationhood and citizenship, and ruptures of ethnic and racial identity.” Desires for sexual encounters intertwine with those for commodities and lifestyles. Such a paneroticism may break gender, class, ethnicity, or age boundaries. Synonymous with desire, it may be at odd with an Orientalist vision of Asia as feminized and the West as setting the standard for homo- and heteronormativity. For instance, “what constitutes ‘lesbian’ desire may look both and function differently than it does within Euro-American social and historical formations, and draw from alternative modes of masculinity and feminity.”
The Duke Reader 