In both literature and philosophy, geologic matter has been imagined as a vector of extending perception and analysis into the territory of not only the nonhuman, but also the non-living, challenging the very distinctions between life and non-life, agile and inert matter. Recently, the debates over the concept of the Anthropocene amplified our fascination with the geologic, bringing into view the inescapable bond of human and Earth’s history. The article probes the possibilities of the geologic turn through two short stories published in the era of the Anthropocene debates—Margaret Atwood’s ‘Stone Mattress’ (2013) and A.S. Byatt’s ‘A Stone Woman’ (2003). The stories’ interest in a geologic setting, their staging of human-mineral intimacies, and their geologically-infused aesthetics position these two stories as fictions of the geologic turn. I examine how these writers—through reconfiguring the relations between bios and geos, human and nonhuman—forge alternatives to an extractive relation to the geos, as well as refuse to accept the figure of Earth as either an inert object or a victim. In this reframing, they also exemplify feminist critique of the imagined unity of ‘Anthropos’ that is named by the Anthropocene thinkers.
{"title":"Geomediations in the Anthropocene: Fictions of the Geologic Turn","authors":"Alla Ivanchikova","doi":"10.16995/C21.35","DOIUrl":"https://doi.org/10.16995/C21.35","url":null,"abstract":"In both literature and philosophy, geologic matter has been imagined as a vector of extending perception and analysis into the territory of not only the nonhuman, but also the non-living, challenging the very distinctions between life and non-life, agile and inert matter. Recently, the debates over the concept of the Anthropocene amplified our fascination with the geologic, bringing into view the inescapable bond of human and Earth’s history. The article probes the possibilities of the geologic turn through two short stories published in the era of the Anthropocene debates—Margaret Atwood’s ‘Stone Mattress’ (2013) and A.S. Byatt’s ‘A Stone Woman’ (2003). The stories’ interest in a geologic setting, their staging of human-mineral intimacies, and their geologically-infused aesthetics position these two stories as fictions of the geologic turn. I examine how these writers—through reconfiguring the relations between bios and geos, human and nonhuman—forge alternatives to an extractive relation to the geos, as well as refuse to accept the figure of Earth as either an inert object or a victim. In this reframing, they also exemplify feminist critique of the imagined unity of ‘Anthropos’ that is named by the Anthropocene thinkers.","PeriodicalId":272809,"journal":{"name":"C21 Literature: Journal of 21st-Century Writings","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128214323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This conversation brought together Berit Ellingsen, the acclaimed writer of novels, short stories, non-fiction pieces, and video game criticism and fiction, with Andrew Hageman, a scholar who researches and teaches intersections of techno-culture and ecology. Ellingsen’s recent novel, Not Dark Yet (2015), has established her as an ascendant figure in the world of speculative, perhaps “weird,” fiction, and Jeff VanderMeer has praised it in his list of favorite book reads of 2015 as a significant contribution to fiction that engages the strangeness of coming to consciousness of climate change, referring to the novel as, “An ambiguous and luminous and mysterious text that changes shape and meaning on rereading, as with all the best fiction.” What follows is a conversation that unfolded over several conversational sessions spanning the Northern hemispheric late summer and autumn of 2016, as Andrew experienced the prolonged flooding of his basement in Northeast Iowa due to unusually high rainfalls, as well as the election of Donald Trump as President of the United States. Their conversation reflects on and engages with this emerging world of strange weather and strange days to articulate the roles of literature and the arts in the Anthropocene.
这次对话汇集了Berit Ellingsen(著名的小说、短篇小说、非虚构作品、电子游戏评论和小说作家)和Andrew Hageman(研究和教授技术文化和生态的交叉点的学者)。艾林森最近的小说《尚未黑》(Not Dark Yet, 2015)让她在推测性的、或许是“怪异的”小说界成为了一个上升的人物。杰夫·范德米尔(Jeff VanderMeer)在他的2015年最喜欢的书单中称赞这本书是对小说的重大贡献，它讲述了人们意识到气候变化的陌陌感，他把这本小说称为，“一本模棱两可、明亮而神秘的文本，在重读时改变了形状和意义，就像所有最好的小说一样。”接下来的对话是在2016年夏末和秋天横跨北半球的几次对话中展开的，安德鲁在爱荷华州东北部经历了由于异常高降雨量导致的地下室长期洪水，以及唐纳德·特朗普当选美国总统。他们的对话反映并参与了这个新兴世界的奇怪天气和奇怪的日子，以阐明文学和艺术在人类世中的作用。
{"title":"Tricking the Troll: A Conversation with Berit Ellingsen on the Anthropocene and Literature","authors":"A. Hageman, Berit Ellingsen","doi":"10.16995/C21.28","DOIUrl":"https://doi.org/10.16995/C21.28","url":null,"abstract":"This conversation brought together Berit Ellingsen, the acclaimed writer of novels, short stories, non-fiction pieces, and video game criticism and fiction, with Andrew Hageman, a scholar who researches and teaches intersections of techno-culture and ecology. Ellingsen’s recent novel, Not Dark Yet (2015), has established her as an ascendant figure in the world of speculative, perhaps “weird,” fiction, and Jeff VanderMeer has praised it in his list of favorite book reads of 2015 as a significant contribution to fiction that engages the strangeness of coming to consciousness of climate change, referring to the novel as, “An ambiguous and luminous and mysterious text that changes shape and meaning on rereading, as with all the best fiction.” What follows is a conversation that unfolded over several conversational sessions spanning the Northern hemispheric late summer and autumn of 2016, as Andrew experienced the prolonged flooding of his basement in Northeast Iowa due to unusually high rainfalls, as well as the election of Donald Trump as President of the United States. Their conversation reflects on and engages with this emerging world of strange weather and strange days to articulate the roles of literature and the arts in the Anthropocene.","PeriodicalId":272809,"journal":{"name":"C21 Literature: Journal of 21st-Century Writings","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134255530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay explores the way in which Michel Houellebecq’s literary depictions of a genetically modified ‘human’ race, described as ‘neohumans’, articulate the distress of the Anthropocene subject and explore the evolution of subjectivity in a techno-natural context. Considering Houellebecq’s work in an ecocritical context, this essay seeks to expand current readings of the author in order to illuminate the implications of his vision of the self-reflexive Anthropocene subject. It seeks to explore how creation myths evolve in the Anthropocene era and what it means for humans to act on themselves in this context. This also opens up questions around the framing of our current epoch as ‘Anthropocene’, and seeks to examine, through Houellebecq’s account, the pessimism of this understanding, and the myth of human exceptionalism that underpins it. Focusing on Atomised (2000) and The Possibility of an Island (2006), I seek to illuminate Houellebecq’s gestures towards an Anthropocene sensibility, and to assess his accounts of self-negation at subject and species level with regard to the concept of ‘shadowtime, defined as ‘the sense of living in two or more orders of temporal scale simultaneously’. Further, it seeks to question the role of literature in addressing these concerns, positing the emergence of a contemporary literature of ‘futurised presents’ (J. G. Ballard’s ‘next five minutes’), of which Houellebecq’s work is part.
这篇文章探讨了Michel Houellebecq对基因改造的“人类”种族(被描述为“新人类”)的文学描述，阐明了人类世主题的痛苦，并探索了技术-自然背景下主体性的进化。考虑到Houellebecq在生态批评背景下的工作，本文试图扩展作者的当前阅读，以阐明他对自我反思的人类世主题的看法的含义。它试图探索创造神话是如何在人类世时代演变的，以及在这种背景下人类对自己的行动意味着什么。这也开启了围绕我们当前时代作为“人类世”框架的问题，并试图通过Houellebecq的描述来检查这种理解的悲观主义，以及支撑它的人类例外论的神话。聚焦于《原子化》(2000)和《岛屿的可能性》(2006)，我试图阐明Houellebecq对人类世的敏感性的姿态，并评估他在主体和物种层面上对“影子时间”概念的自我否定的描述，“影子时间”被定义为“同时生活在两个或多个时间尺度上的感觉”。此外，它试图质疑文学在解决这些问题中的作用，假设“未来的礼物”的当代文学的出现(J. G. Ballard的“下一个五分钟”)，Houellebecq的作品是其中的一部分。
{"title":"Less Human, More Ourselves: Michel Houellebecq's Neohumans and the Anthropocene subject","authors":"Patricia Malone","doi":"10.16995/C21.32","DOIUrl":"https://doi.org/10.16995/C21.32","url":null,"abstract":"This essay explores the way in which Michel Houellebecq’s literary depictions of a genetically modified ‘human’ race, described as ‘neohumans’, articulate the distress of the Anthropocene subject and explore the evolution of subjectivity in a techno-natural context. Considering Houellebecq’s work in an ecocritical context, this essay seeks to expand current readings of the author in order to illuminate the implications of his vision of the self-reflexive Anthropocene subject. It seeks to explore how creation myths evolve in the Anthropocene era and what it means for humans to act on themselves in this context. This also opens up questions around the framing of our current epoch as ‘Anthropocene’, and seeks to examine, through Houellebecq’s account, the pessimism of this understanding, and the myth of human exceptionalism that underpins it. Focusing on Atomised (2000) and The Possibility of an Island (2006), I seek to illuminate Houellebecq’s gestures towards an Anthropocene sensibility, and to assess his accounts of self-negation at subject and species level with regard to the concept of ‘shadowtime, defined as ‘the sense of living in two or more orders of temporal scale simultaneously’. Further, it seeks to question the role of literature in addressing these concerns, positing the emergence of a contemporary literature of ‘futurised presents’ (J. G. Ballard’s ‘next five minutes’), of which Houellebecq’s work is part.","PeriodicalId":272809,"journal":{"name":"C21 Literature: Journal of 21st-Century Writings","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124847749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On one level, Tom McCarthy’s C comes out as a postmodern intertextual patchwork that borrows the form of the Bildungsroman . Accordingly, the protagonist Serge travels from birth to death in a forthrightly chronological narrative, but that journey is accompanied by the fact that the text’s modernist historical context is partly embedded in a posthuman and postmodern ontology. Technologically speaking, this version of modernity displays itself as technē , both in terms of artistic creation and as technology innovation (the radio transmitter, the car, the aeroplane, the cinema). Moreover, the novel equates technology with dromology (from Gr. dromos : race course) dealing with increasing speed as economic and political advantage, but it also reveals its human downside in terms of disaster (war, car crash, aeroplane crash). Through the protagonist, C forwards technology as death drive and the human as always already being ahuman ( technē as primordial attribute of bios ). In terms of time, the narrative seemingly incarnates the occidental obsession with teleology and eschatology. This article goes through these dimensions, but in addition it contends that there is another level at work in the narrative. Considered as artistically rendered philosophical cognition, the novel puts forth the Stoic apathea (equanimity), Husserlian flux, and anachronistic temporality as giving way to a peculiar kind of faith. This is closely tied to the artistic creativity of technē , including the activity of writing, which rescues a form of transcendence from conventional postmodern elimination. Dominant discourses of technology and time—apocalyptic and utopian—are challenged in this reading.
{"title":"ʻWhere danger is, there rescue growsʼ: Technology, Time, and Dromology in Tom McCarthy’s C","authors":"J. Wrethed","doi":"10.16995/C21.26","DOIUrl":"https://doi.org/10.16995/C21.26","url":null,"abstract":"On one level, Tom McCarthy’s C comes out as a postmodern intertextual patchwork that borrows the form of the Bildungsroman . Accordingly, the protagonist Serge travels from birth to death in a forthrightly chronological narrative, but that journey is accompanied by the fact that the text’s modernist historical context is partly embedded in a posthuman and postmodern ontology. Technologically speaking, this version of modernity displays itself as technē , both in terms of artistic creation and as technology innovation (the radio transmitter, the car, the aeroplane, the cinema). Moreover, the novel equates technology with dromology (from Gr. dromos : race course) dealing with increasing speed as economic and political advantage, but it also reveals its human downside in terms of disaster (war, car crash, aeroplane crash). Through the protagonist, C forwards technology as death drive and the human as always already being ahuman ( technē as primordial attribute of bios ). In terms of time, the narrative seemingly incarnates the occidental obsession with teleology and eschatology. This article goes through these dimensions, but in addition it contends that there is another level at work in the narrative. Considered as artistically rendered philosophical cognition, the novel puts forth the Stoic apathea (equanimity), Husserlian flux, and anachronistic temporality as giving way to a peculiar kind of faith. This is closely tied to the artistic creativity of technē , including the activity of writing, which rescues a form of transcendence from conventional postmodern elimination. Dominant discourses of technology and time—apocalyptic and utopian—are challenged in this reading.","PeriodicalId":272809,"journal":{"name":"C21 Literature: Journal of 21st-Century Writings","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126500008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Will Self and Contemporary British Society","authors":"Ryan S. Trimm","doi":"10.16995/C21.18","DOIUrl":"https://doi.org/10.16995/C21.18","url":null,"abstract":"","PeriodicalId":272809,"journal":{"name":"C21 Literature: Journal of 21st-Century Writings","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121990066","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article argues Jonathan Lethem’s Dissident Gardens (2013) possesses the workings of a critical apprehension set against the more violent ends and commemorative strictures of mourning, loss, and despair. Typically, twentieth-century literary works which actively intervene in the past risk either commemorating political failure and defeat or mourning the trauma of a collective agony that is repeatedly experienced. Instead, I propose twenty-first century fiction produced at a certain historical, cultural, and geographical remove from the centres of state-socialism and communist atrocity articulates an ability to properly trace the political, psychological, and aesthetic contours of left loss in more reparative ways. Specifically, this article is concerned with the ways in which Lethem’s text stages a series of cultural practices through which it can express and work through left loss, disappointment, injury and despair. It sets out to juxtapose, and place into dialogue, key thematic strands from Lethem’s novel with critical accounts of mourning, memory, and loss by Freud and other psychoanalytic theorists.
{"title":"‘Reading the New Ruins: Loss, Mourning, and Melancholy in Dissident Gardens'","authors":"A. Rowcroft","doi":"10.16995/C21.39","DOIUrl":"https://doi.org/10.16995/C21.39","url":null,"abstract":"This article argues Jonathan Lethem’s Dissident Gardens (2013) possesses the workings of a critical apprehension set against the more violent ends and commemorative strictures of mourning, loss, and despair. Typically, twentieth-century literary works which actively intervene in the past risk either commemorating political failure and defeat or mourning the trauma of a collective agony that is repeatedly experienced. Instead, I propose twenty-first century fiction produced at a certain historical, cultural, and geographical remove from the centres of state-socialism and communist atrocity articulates an ability to properly trace the political, psychological, and aesthetic contours of left loss in more reparative ways. Specifically, this article is concerned with the ways in which Lethem’s text stages a series of cultural practices through which it can express and work through left loss, disappointment, injury and despair. It sets out to juxtapose, and place into dialogue, key thematic strands from Lethem’s novel with critical accounts of mourning, memory, and loss by Freud and other psychoanalytic theorists.","PeriodicalId":272809,"journal":{"name":"C21 Literature: Journal of 21st-Century Writings","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123707280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A ‘drowned’ or flooded village describes the destruction of a settlement or community to make way for a reservoir; as a practice, it most commonly occurred in Britain during the late nineteenth and early twentieth centuries when the need for fresh water in growing industrial cities was at its height. This essay will explore three different representations of the ‘drowned village’ in contemporary British fiction. Reginald Hill’s On Beulah Height (1992), Hilary Mantel’s short story ‘The Clean Slate’ (2001) and Sarah Hall’s Haweswater (2002) will all be considered in terms of how the drowned village is presented and described, and what this representation suggests about the ways nostalgia, ritual and ruin impact upon notions of community and place.
{"title":"‘When the Reservoir Comes’: Drowned Villages, Community and Nostalgia in Contemporary British Fiction","authors":"E. Pollard","doi":"10.16995/C21.9","DOIUrl":"https://doi.org/10.16995/C21.9","url":null,"abstract":"A ‘drowned’ or flooded village describes the destruction of a settlement or community to make way for a reservoir; as a practice, it most commonly occurred in Britain during the late nineteenth and early twentieth centuries when the need for fresh water in growing industrial cities was at its height. This essay will explore three different representations of the ‘drowned village’ in contemporary British fiction. Reginald Hill’s On Beulah Height (1992), Hilary Mantel’s short story ‘The Clean Slate’ (2001) and Sarah Hall’s Haweswater (2002) will all be considered in terms of how the drowned village is presented and described, and what this representation suggests about the ways nostalgia, ritual and ruin impact upon notions of community and place.","PeriodicalId":272809,"journal":{"name":"C21 Literature: Journal of 21st-Century Writings","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130418707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article reads Sophia Al-Maria’s aesthetics of Gulf Futurism as a mode of retro-futurist nostalgia, nostalgia not for the past but for the future. Retro-futurism can be understood in terms of what Mark Fisher has called, following Jacques Derrida, “hauntology” (Fisher 2014), the project of interrogating the failure of the utopian promises of modernity on both personal and collective registers. Literary and cultural critics have long maintained that postmodernism marks a post-futurist moment in which imagined futures are pre-determined by the ideological imperatives of market capitalism. Yet, this “slow cancellation of the future” (Berardi 2011: 18) has paradoxically entailed a proliferation of 21 st -century futurisms: Afro-Futurism, Sino-Futurism, Gulf Futurism, accelerationism, design fiction, climate fiction, and so forth. My argument is that, in its articulation of Gulf Futurism, The Girl Who Fell to Earth distorts and undermines modernity’s signature narrative of development and progress, holding up a mirror to its history of broken promises and thereby challenging its imagined foreclosure of possible futures.
{"title":"The Girl Who Fell to Earth : Sophia Al-Maria’s Retro-Futurism","authors":"Mike Frangos","doi":"10.16995/C21.44","DOIUrl":"https://doi.org/10.16995/C21.44","url":null,"abstract":"This article reads Sophia Al-Maria’s aesthetics of Gulf Futurism as a mode of retro-futurist nostalgia, nostalgia not for the past but for the future. Retro-futurism can be understood in terms of what Mark Fisher has called, following Jacques Derrida, “hauntology” (Fisher 2014), the project of interrogating the failure of the utopian promises of modernity on both personal and collective registers. Literary and cultural critics have long maintained that postmodernism marks a post-futurist moment in which imagined futures are pre-determined by the ideological imperatives of market capitalism. Yet, this “slow cancellation of the future” (Berardi 2011: 18) has paradoxically entailed a proliferation of 21 st -century futurisms: Afro-Futurism, Sino-Futurism, Gulf Futurism, accelerationism, design fiction, climate fiction, and so forth. My argument is that, in its articulation of Gulf Futurism, The Girl Who Fell to Earth distorts and undermines modernity’s signature narrative of development and progress, holding up a mirror to its history of broken promises and thereby challenging its imagined foreclosure of possible futures.","PeriodicalId":272809,"journal":{"name":"C21 Literature: Journal of 21st-Century Writings","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121932316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents the case for reading Herman Melville’s “Bartleby the Scrivener” as a key intertext for David Foster Wallace’s 2004 essay, “Consider the Lobster”. Focusing upon Wallace’s assertion that “it may well be that an ability to form preferences is the decisive criterion for real suffering” the piece reads Wallace’s work through the lenses of capital, class, political aesthetics, ecology, and genocide. Ultimately, though, this article argues that Wallace’s essay ends with ethical stalemate since Wallace is unwilling to commit to a political stance. It is, as I here argue, as though Wallace’s essay would “prefer not to” make an actual decision.
{"title":"Preferential Consideration: Bartleby, Class, and Genocide in David Foster Wallace’s “Consider the Lobster”","authors":"M. Eve","doi":"10.16995/C21.17","DOIUrl":"https://doi.org/10.16995/C21.17","url":null,"abstract":"This article presents the case for reading Herman Melville’s “Bartleby the Scrivener” as a key intertext for David Foster Wallace’s 2004 essay, “Consider the Lobster”. Focusing upon Wallace’s assertion that “it may well be that an ability to form preferences is the decisive criterion for real suffering” the piece reads Wallace’s work through the lenses of capital, class, political aesthetics, ecology, and genocide. Ultimately, though, this article argues that Wallace’s essay ends with ethical stalemate since Wallace is unwilling to commit to a political stance. It is, as I here argue, as though Wallace’s essay would “prefer not to” make an actual decision.","PeriodicalId":272809,"journal":{"name":"C21 Literature: Journal of 21st-Century Writings","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127843434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Zoe Strachan offers here an examination of the haunting power of photography as a creative stimulus. She discusses the use of photographs in Janice Galloway’s two autobiographies This is Not About Me (2008) and All Made Up (2011), as well as her own use of photographic inspiration for her currently untitled new novel, an extract from which closes the special issue.
{"title":"Tiny Jubilations: Using Photography in Fiction and an Extract from a Novel","authors":"Zoe Strachan","doi":"10.16995/C21.25","DOIUrl":"https://doi.org/10.16995/C21.25","url":null,"abstract":"Zoe Strachan offers here an examination of the haunting power of photography as a creative stimulus. She discusses the use of photographs in Janice Galloway’s two autobiographies This is Not About Me (2008) and All Made Up (2011), as well as her own use of photographic inspiration for her currently untitled new novel, an extract from which closes the special issue.","PeriodicalId":272809,"journal":{"name":"C21 Literature: Journal of 21st-Century Writings","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124796125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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