Abstract This article offers an account of “toxic infrastructures” as mutually material and discursive arrangements operating in the postwar, postcrash, and settler colonial landscapes of the United States. It specifically responds to Jennifer Scappettone’s multimodal poetic work The Republic of Exit 43, developed after the author’s discovery that the industrial landfill site she grew up alongside in New York had been classified by the US Environmental Protection Agency as requiring federal intervention. Tracing Scappettone’s poetic geographies from the “corporate dump” of Syosset Landfill to the more (in)famous waste site Fresh Kills, the article argues that Scappettone exposes the ways that certain bodies and ecologies are rendered physically and conceptually toxic and implicates readers in the uneven social, embodied, and ecological conditions of composition and response. It suggests that Scappettone’s practices of collage, salvage, and collaborative performance destabilize lyric subjectivity to address a “garbage arcadia” compounding the material accumulations of US consumerism and neoliberal financialization with longer processes of dispossession and displacement. Reading this text with feminist materialisms and Julian Talamantez Brolaski’s queer Indigenous poetry, the article considers how poetics might reckon with the material conditions and residues of uneven wasting and generate situated, critical, and relational approaches to toxic infrastructures.

中文翻译：

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在“基础设施的裂痕”中

摘要 本文介绍了“有毒基础设施”作为在美国战后、崩溃后和定居者殖民景观中运作的相互物质和话语安排。它特别回应了 Jennifer Scappettone 的多式联运诗歌作品《43 号出口共和国》，该作品是在作者发现她在纽约长大的工业垃圾填埋场被美国环境保护署列为需要联邦干预之后开发的。追踪 Scappettone 的诗意地理，从 Syosset 垃圾填埋场的“企业垃圾场”到更（不）著名的垃圾场 Fresh Kills，文章认为 Scappettone 揭示了某些身体和生态在物理和概念上变得有毒的方式，并暗示读者在不平衡社会的，体现的，组成和响应的生态条件。它表明，Scappettone 的拼贴、抢救和协作表演的实践破坏了抒情主体性的稳定性，以解决美国消费主义和新自由主义金融化的物质积累与更长的剥夺和流离失所过程相结合的“垃圾阿卡迪亚”。用女权主义唯物主义和朱利安·塔拉曼特斯·布罗拉斯基 (Julian Talamantez Brolaski) 的酷儿土著诗歌阅读这篇文章，文章考虑了诗学如何考虑物质条件和不均衡浪费的残余物，并产生对有毒基础设施的定位、批判和关系方法。和合作表演破坏了抒情主体性，以解决“垃圾阿卡迪亚”问题，该问题将美国消费主义和新自由主义金融化的物质积累与更长的剥夺和流离失所过程相结合。用女权主义唯物主义和朱利安·塔拉曼特斯·布罗拉斯基 (Julian Talamantez Brolaski) 的酷儿土著诗歌阅读这篇文章，文章考虑了诗学如何考虑物质条件和不均衡浪费的残余物，并产生对有毒基础设施的定位、批判和关系方法。和合作表演破坏了抒情主体性，以解决“垃圾阿卡迪亚”问题，该问题将美国消费主义和新自由主义金融化的物质积累与更长的剥夺和流离失所过程相结合。用女权主义唯物主义和朱利安·塔拉曼特斯·布罗拉斯基 (Julian Talamantez Brolaski) 的酷儿土著诗歌阅读这篇文章，文章考虑了诗学如何考虑物质条件和不均衡浪费的残余物，并产生对有毒基础设施的定位、批判和关系方法。