Fear not

I thought Fredric Jameson had stolen my work. In a way he did; the heavy theoretical underpinnings I was trying to squeeze out in the Summer of Insanity (2004) make a neat and tidy appearance in a single chapter in his book. It would have taken me two or three. He did it in less than 30 pages.
I thought I would have to start over again. I had become so invested in my problems with temporality and causality that I forgot that which I seem to always forget. Let me quote myself from last year:

My thinking on it has shifted again; I realize, reading Shor's article,that I must rethink the rhetorical situation of U/dys-topian lit. That in many ways, I am correct that it is written to be received by all audiences, and that
the general public is aware enough of the conditions of Utopia and the problems
it could pose. In many other ways, however, I have forgotten that although
anyone can understand the literature, few actually pick up the books to engage
in that relationship I outlined. I need to add one more factor, one more
causality, into my neat little equation, one which will complicate the hell out
of things, but will clean up the ultimate problem I have with rhetorical
criticisms in general: How is it actually received? What are the conditions that
are behind any one reading of the text? Other than shoving the book in their
hands and holding a gun to their heads, how do publicists convince readers to
read? Who else, other than publicists, do this job? What other conditions
surround the reading of dystopian texts? Utopian texts? Don't they necessarily
assume an engaged reader? What happens when the reader is forced to read ( F451
in high schools, for example)? What about the physical presence of the
book? Silly Amy. How could I have overlooked such simple things? The theory, Oh, the theory....

Yes

These are the questions that are for me to answer; these are the Burkeian questions dealing with those beings Jameson does not seem to imagine: readers in a specific context. This is where cultural studies is most cultural: in the lived experience. That is what I will contribute; I will not contradict Jameson, but flesh out what he has left implicit, has left unsaid, or has simply ignored.
Mojo. Hell yeah.