The Corpse in the Kitchen explores relationships between the dispossession of Indigenous peoples, the enclosure of Indigenous land and extraction of Indigenous resources, and settler colonialism as a technique of racial capitalism. Drawing upon the literature and historiography of the so-called Black Hawk War, it looks to the colonization of the upper Mississippi River lead region as one instance of primitive accumulation for purposes of mineral accretion. While conventional histories of the Black Hawk War have treated the conflict as gratuitous and tragic, The Corpse in the Kitchen argues tha ... More

The Corpse in the Kitchen explores relationships between the dispossession of Indigenous peoples, the enclosure of Indigenous land and extraction of Indigenous resources, and settler colonialism as a technique of racial capitalism. Drawing upon the literature and historiography of the so-called Black Hawk War, it looks to the colonization of the upper Mississippi River lead region as one instance of primitive accumulation for purposes of mineral accretion. While conventional histories of the Black Hawk War have treated the conflict as gratuitous and tragic, The Corpse in the Kitchen argues that the conflict between Black Hawk, settler militias, and the federal military were part of a struggle over the dispensation of mineral resources, specifically, mineral lead. The elemental basis for the fabrication of bullets, the federal state had a vested interest in control over regional lead resources, as a means of manufacturing the implements by which it would secure its sovereignty over North America. As the basis for metallic type, the abundance of lead drawn from the mines of the upper Mississippi would also occasion an expansion of printing, creating new technologies of memory and forgetting. The Corpse in the Kitchen explores the intimacies between extraction and killing, writing, printing, memory, and forgetting, a story of settlers as rapacious consumers of Indigenous peoples.