{'fraction_non_alphanumeric': 0.039057239057239054, 'fraction_numerical': 0.00808080808080808, 'mean_word_length': 5.7853881278538815, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Exposed: Environmental Politics and Pleasures in Posthuman Times by Stacy Alaimo (review)

“The anthropocene is no time to set things straight,” begins Stacy Alaimo’s Exposed: Environmental Politics and Pleasures in Posthuman Times. As this playful opening sentence suggests, Exposed resists environmentalism’s earnest pieties, immersing itself instead in the complex and often provocative regions where environmental activism, performance art, material feminism, queer studies, posthumanism, and New Materialism overlap. “Immerse” here is no idle word choice; not only does the book’s culminating section extend Anthropocenic questions to oceanic realms (Alaimo herself describes the rest of Exposed as “what happened to me while I was trying to get to the sea” [13–14]), but the work as a whole develops a seemingly aqueous methodology that resists “floating perspectives” (129) and “dry, detached assertions” (10) in favor of “immersive practices and methodologies” (10). The result is an ambitious, irreverent, original, wide-ranging, and sometimes disorienting call for a politics of exposure that heeds the entanglement of human bodies with the material world and inhabits a mode of agency that “emerges from the perceived loss of boundaries and sovereignty” (5). Over the course of its six chapters, Exposed critiques various practices and postures of impermeability—ranging from the hypermasculine performance of “coal rollers” to the proclaimed safety of domestic enclosure to