On the one hand, Miller thus focuses on a central theme in Kristeva's work, namely her critique of modernity as a culture of the spectacle, one that proliferates images without content and leaves us numb and motionless, zapping away in front of our televisions or getting lost in a two-dimensional landscape of glossy billboards and idealized representations. Miller is right that no such monument exists-Congress entertained the idea of raising one in 2003, when the National Slave Memorial Act was introduced, but ultimately authorized the Smithsonian Museum of African American History and Culture instead-and she is right that this is a striking fact in light of how many such monuments that can be found in Germany, for example, to commemorate the Holocaust. The curator Nato Thompson refers to the piece as a monument, responding not only to the building and its history, but also, of course, to the history of slavery (the sphinx "has the head of a kerchief-wearing black female, referencing the mythic caretaker of the domestic needs of white families") as well as our present-day sexualization of the black female body ("her body is a veritable caricature of the overly sexualized black woman, with prominent breasts, enormous buttocks, and protruding vulva that is quite visible from the back"). [...]returning to the image with which I began-the image of Gloria, decapitated, lying in a pool of blood-I wonder, finally, why it is that Miller never engages Kristeva's novels in her book.