LEADER 04649nam 22009134a 450 001 9910971076003321 005 20200520144314.0 010 $a9786612646485 010 $a9780226790152 010 $a0226790150 010 $a9781282646483 010 $a1282646486 024 7 $a10.7208/9780226790152 035 $a(CKB)2560000000015011 035 $a(EBL)547716 035 $a(OCoLC)646067993 035 $a(SSID)ssj0000423668 035 $a(PQKBManifestationID)12173008 035 $a(PQKBTitleCode)TC0000423668 035 $a(PQKBWorkID)10441209 035 $a(PQKB)10739371 035 $a(SSID)ssj0000432117 035 $a(PQKBManifestationID)11267641 035 $a(PQKBTitleCode)TC0000432117 035 $a(PQKBWorkID)10494027 035 $a(PQKB)11481734 035 $a(MiAaPQ)EBC547716 035 $a(DE-B1597)523336 035 $a(OCoLC)1135593017 035 $a(DE-B1597)9780226790152 035 $a(Au-PeEL)EBL547716 035 $a(CaPaEBR)ebr10395667 035 $a(CaONFJC)MIL264648 035 $a(Perlego)1834194 035 $a(EXLCZ)992560000000015011 100 $a20030930d2004 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMy cocaine museum /$fMichael Taussig 205 $a1st ed. 210 $aChicago $cUniversity of Chicago Press$d2004 215 $a1 online resource (360 p.) 225 0 $aCarpenter Lectures 300 $aDescription based upon print version of record. 311 08$a9780226790091 311 08$a0226790096 311 08$a9780226790084 311 08$a0226790088 320 $aIncludes bibliographical references (p. 319-328) and index. 327 $tFrontmatter --$tContents --$tAuthor's Note: A User's Guide --$tGold --$tMy Cocaine Museum --$tColor --$tHeat --$tWind & Weather --$tRain --$tBoredom --$tDiving --$tWater in Water --$tJulio Arboleda's Stone --$tMines --$tEntropy --$tMoonshine --$tThe Accursed Share --$tA Dog Growls --$tThe Coast Is No Longer Boring --$tParamilitary Lover --$tCement & Speed --$tMiasma --$tSwamp --$tThe Right to Be Lazy --$tBeaches --$tLightning --$tBocanegra --$tStone --$tEvil Eye --$tGorgon --$tGorgona --$tIslands --$tUnderwater Mountains --$tSloth --$tAfterword --$tAcknowledgments --$tBibliography --$tIndex 330 $aIn this book, a make-believe cocaine museum becomes a vantage point from which to assess the lives of Afro-Colombian gold miners drawn into the dangerous world of cocaine production in the rain forest of Colombia's Pacific Coast. Although modeled on the famous Gold Museum in Colombia's central bank, the Banco de la República, Taussig's museum is also a parody aimed at the museum's failure to acknowledge the African slaves who mined the country's wealth for almost four hundred years. Combining natural history with political history in a filmic, montage style, Taussig deploys the show-and-tell modality of a museum to engage with the inner life of heat, rain, stone, and swamp, no less than with the life of gold and cocaine. This effort to find a poetry of words becoming things is brought to a head by the explosive qualities of those sublime fetishes of evil beauty, gold and cocaine. At its core, Taussig's museum is about the lure of forbidden things, charged substances that transgress moral codes, the distinctions we use to make sense of the world, and above all the conventional way we write stories. 606 $aIndians of South America$zColombia$zSanta Maria (Cauca)$xSocial conditions 606 $aIndians of South America$zColombia$zSanta Maria (Cauca)$xEconomic conditions 606 $aIndians, Treatment of$zColombia$zSanta Maria (Cauca) 606 $aSlavery$zColombia$zSanta Maria (Cauca)$xHistory 606 $aGold mines and mining$zColombia$zSanta Maria (Cauca) 606 $aCocaine industry$zColombia$zSanta Maria (Cauca) 606 $aDrug traffic$zColombia$zSanta Maria (Cauca) 607 $aSanta Mari?a (Cauca, Colombia)$xSocial conditions 607 $aSanta Mari?a (Cauca, Colombia)$xEconomic conditions 615 0$aIndians of South America$xSocial conditions. 615 0$aIndians of South America$xEconomic conditions. 615 0$aIndians, Treatment of 615 0$aSlavery$xHistory. 615 0$aGold mines and mining 615 0$aCocaine industry 615 0$aDrug traffic 676 $a986.1/53 700 $aTaussig$b Michael T$0101224 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910971076003321 996 $aMy cocaine museum$94363244 997 $aUNINA