In the aftermath of crushed political revolution, forms of protest become curiously circular and conflicted. Drawing on literary and visual representations of the Indian Mutiny of 1857, this essay analyzes new circuits of demands that break with the project of successful revolutionary ends and demonstrate an investment in the satisfying interminability of protest that cannot be suppressed or punished. It brings into view a range of protesting figures engaged in an ongoing alteration of the colonial relation to argue that the eccentric gaps between process and purpose are useful for thinking through the satisfactions of anticolonialism.

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