Hot Affects, Cold Theory Anna-LLze Berry My Wife and Family received me with great Surprize and Joy, because they concluded me certainly dead; but I muit freely confess, the Sight of them filled me only with Hatred, Disgust and Contempt; and the more, by reflecting on the near Alliance I had to them.... And when I began to consider, that by copulating with one of the Yahoo-Species, I had become a Parent of more, it Struck me with the utmost Shame, Confusion and Horror. Jonathan Swift Viscerality is the perception of suspense. The ¿pace into which it jolts the flesh is one of an inability to art or reflect, a Spasmodic passivity, so taut a receptivity that the body is paralyzed until it is jolted back into artion-reartion by recognition. Call it the ¿pace ofpassion. Its elementary units are neither the absolute perspectives of movement-vision nor the vertoral fields of proprioception proper, but rather degrees of intensity. The Space of passion constitutes a quasi-qualitative realm adjacent to the quasi corporeal.... Passion, then, is beSt understood less as an abstract Space than as the time-Stuff of Spatial abstraction. Call the coupling of a unit of quasi corporeality with a unit of passion an affedt: an ability to affect and a susceptibility to be affected. An emotion orfeeling is a recognized affect, an identified intensity as reinjected into Stimulus-reSponse paths, into artion-reartion circuits of infolding and externalization —in short, into subjert-objeCt relations. Emotion is a contamination of empirical Space by affect, which belongs to the body without an image. Brian Massumi I begin w it h quotations that, while far apart and ostensibly uncon nected, map out certain territories covered by Martha C. Nussbaum and Robert Rawdon Wilson, hinting at the range—the sometimes dazzling array—of approaches offered in their two quite distinct books dealing with deeply felt emotions as revealed in various degrees of intensity, passion, viscerality.1 The quoted passages, whether from sites of political satire l In this review, I shall be primarily concerned with Nussbaum’s and Wilson’s books. Each writer raises a large number of issues on many levels. I can com ment on only a few of these. Elsewhere, I should want to consider the manner ESC 29.1-2 (March/June 2003): 219-234 Anna-Lize Berry works in the areas of Shakespeare and Jacobean Drama, eighteenth-century drama and prose, the nineteenth-century novel, women’s writing in the eighteenth and nineteenth centuries and the history of the novel. or cultural theory, mark strong emotions with suggestively spatial quali ties. While the Swiftian discourse constructs a visceral disgust or horror at human society, thus distancing Gulliver (stabled—yet unstable—with the horses) outside the familial domain, Massumi’s recent exploration of the affect’s spatial architecture describes passion contaminating empiri cal space; each surveys subterranean seams, charting much that goes on beneath the surface terrain. So with Nussbaum’s Upheavals of Thought and Wilson’s The Hydra’s Tale which develop theoretical models for the emotions, the rhizoid complexities underneath apparently uncomplicated surfaces that become ever more manifest. Nothing is more illusory than simplicity.* 2Both cultural practices and doctrines, whether religious or political, impose the proposition that many experiences, all the most important ones perhaps, happen sud denly without mediation. In much the same way, knowing the truth of an event (being able to say, “This, and only this, has happened”) is often taken to be intuitive. Things and actions just are. The world’s myriad assaults fall upon passive and conditioned human subjects. Although many rea sons have been given to account for human passivity in experience, the contemporary model generally holds that either culture or ideology, or both, has made us such. Much contemporary thinking on the problems of moral action and thought, even accounts of immediate stimulus-response sequences, holds that the human actions are strictly determined by the cultural machine that incorporates them. This machine may be of two kinds, and in some analyses it can be seen as being both at once: either one is embedded within a distinct system of cultural practices that initi ates and regulates...