Abstract

Kelly Aguirre, Phil Henderson, Cressida J. Heyes, Alana Lentin, and Corey Snelgrove engage with different aspects of Robert Nichols’ Theft is Property! Dispossession and Critical Theory. Henderson focuses on possible spaces for maneuver, agency, contradiction, or failure in subject formation available to individuals and communities interpellated through diremptive processes. Heyes homes in on the ritual of antiwill called “consent” that systematically conceals the operation of power. Aguirre foregrounds tensions in projects of critical theory scholarship that aim for dialogue and solidarity with Indigenous decolonial struggles. Lentin draws attention to the role of race in undergirding the logic of Anglo-settler colonial domination that operates through dispossession, while Snelgrove emphasizes the link between alienation, capital, and colonialism. In his reply to his interlocutors, Nichols clarifies aspects of his “recursive logics” of dispossession, a dispossession or theft through which the right to property is generated.