Pub Date : 2022-12-01DOI: 10.1215/0041462x-10237769
J. Mcguinn
Abstract:This essay considers the problematic presence of the inanimate in elegiac form. Focusing on Geoffrey Hill (1932–2016) as translator/elegist of Paul Celan (1920–1970), this essay argues that Hill's poetry responds to the challenge of addressing the nonliving by way of Celan's own poetics of the inanimate. This doubled incorporation of the inanimate puts under pressure concepts of poetic form and of reading that are structured by organic animation. Hill's poems emerge as structured by a principle of inorganic production that finds its aesthetic paradigm in Kant's concept of "crystallization." Reading the emergence of nonorganic processes from organic spaces in Hill's work, the reemergence of a postindustrial pastoral in elegiac form, and the translation of the crystal-image of ice from Celan's poetry into Hill's own, this essay addresses the possibility of thinking form as a nonorganic process in elegy, and of thinking an elegiac poetics of form.
摘要:本文探讨了在挽歌形式中无生命存在的问题。本文以保罗·策兰(Paul Celan, 1920-1970)的译者/挽歌家杰弗里·希尔(Geoffrey Hill, 1932-2016)为研究对象，认为希尔的诗歌以策兰自己的无生命诗学的方式回应了解决无生命问题的挑战。这种无生命的双重结合使由有机动画构成的诗歌形式和阅读概念受到压力。希尔的诗歌以一种无机生产的原则为结构，这种原则在康德的“结晶”概念中找到了它的美学范式。本文通过对希尔作品中有机空间中非有机过程的出现、后工业田园挽歌形式的再现，以及将策兰诗歌中的冰的水晶形象翻译成希尔自己的诗歌，探讨了思考形式作为挽歌中非有机过程的可能性，以及思考形式的挽歌诗学的可能性。
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Pub Date : 2022-12-01DOI: 10.1215/0041462x-10237782
Alex Mouw
Abstract:Critics have long attended to Marianne Moore's paradoxical drawing together of such opposites as freedom and discipline, commonality and quiddity, and celebrity and celibacy. This article explores another paradoxical vein in her poetic career: public solitude. For her, public life and solitude were not only compatible but, in fact, depended on one another. Moore had a high view of public (and especially civic) virtue and responsibility, which she brought to bear on her late-life celebrity, but for her it was solitude that made both literary productivity and public life possible in the first place. As her own social life suggests, solitude need not be synonymous with isolation. But if, as in her view, public life is defined by service to a community, such service is rooted in a reserve of solitude. In Moore's poetry, then, a public is constituted of solitary persons, and living a useful life is made possible by nourishing one's own solitude and valuing the solitude of others. Ultimately, this essay argues that the idea of public solitude can help us understand Moore's poetics, the strategies and structures that defined her engagement with poetry. Although consistently important, public solitude took on new urgency for her in the World War II years and beyond, when Moore developed from an obscure champion of modernism to a widely read national figure.
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Pub Date : 2022-12-01DOI: 10.1215/0041462x-10237795
Kezia Whiting
Abstract:How do we know what a character knows? What assumptions do we make about a character and their awareness when we read a text? How, in fact, does a text codify and construct knowledge, character, and thought? This essay addresses these questions in relation to Katherine Mansfield's short story, "Bliss." Most readers of "Bliss" assume that the protagonist, Bertha, knows nothing of her husband's apparent affair with a guest at their dinner party and even that she is unaware of her own burgeoning homosexual desire for this same guest. And yet the persistent ambiguity of Mansfield's free indirect style, at the least, allows Bertha to be read as knowing, deliberate, and complicit in her apparent ignorance. In conjunction with the text's critique of gender roles and expectations, Mansfield's free indirect style implicitly criticizes her reader's willingness to sideline Bertha's self-awareness. Mansfield's demonstration of the fungibility of the ownership of thoughts is underscored by her critique of Bertha's largely privileged lifestyle filled with possessions she is ultimately unable to fully possess.
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Pub Date : 2022-12-01DOI: 10.1215/0041462x-10237756
Birger Vanwesenbeeck
Abstract:In the fall of 1954, enrolled in an undergraduate intermediate German course, Sylvia Plath undertook a translation of Rainer Maria Rilke's 1908 poem "Ein Prophet." Though this translation has received only scant attention from scholars, it represents Plath's first poetic engagement with German, an engagement that extends all the way to the six poems she wrote about the untimely death of her German-born father. Taking that early work seriously, then, this essay explores the relationship between mourning and translation in Plath's work from the Rilke translation through the much-studied later poems. Where translation is often figured as a process of loss, with a focus on what is "lost in translation," this essay argues that in Plath's work it figures too as a way of responding to loss—as a process of mourning.
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Pub Date : 2022-12-01DOI: 10.1215/0041462x-10237808
M. Kervick
In Claire Keegan’s “long short story” Foster (2008), the unnamed child protagonist-narrator is temporarily displaced to the home of distant relatives to ease the burden of her feckless father and pregnant mother who are overrun with other children to care for.1 In an early scene, the narrator’s new foster mother, Mrs. Kinsella, gives the child a bath. The child thinks, “Her hands are like my mother’s hands, but there is something else in them, too, something I have never felt before and have no name for. I feel at such a loss for words but this is a new place and new words are needed” (Keegan 2008: 18). Though Keegan’s text is not mentioned in The Child Sex Scandal and Modern Irish Literature: Writing the Unspeakable (2020), the child protagonist’s “loss for words” in this intimate scene recalls the experiences of so many of the child characters at the center of the fictions in Joseph Valente’s and Margot Gayle Backus’s study: an inability to put into words something they have witnessed or endured. In the foreword to The Child Sex Scandal, the widely known Irish cultural critic Fintan O’Toole discusses the role of writing in the process of uncovering things that are unspeakable, particularly when those things involve children. O’Toole explains that “in life, much of what children know is communicated between them only in quiet speech—the unspeakable is really the unwritable. In art, it is writing that occupies the place of this speech, that broaches, more or less explicitly, what is not being said, either by the young characters themselves or by the world around them” (xiv). Listening closely to “what is not being said” is the impetus for this study, and Backus and Valente—two key players in the field of Irish literary studies—attempt to unearth the “unspeakable” narratives of child sexual abuse in a selection of twentiethand twenty-first-century short stories and novels by some of Ireland’s most studied writers.
在克莱尔·基根(Claire Keegan)的“长短篇小说”《福斯特》(2008)中，没有名字的儿童主人公兼叙述者暂时被安置在远亲家中，以减轻她无能的父亲和怀孕的母亲的负担，因为他们要照顾的孩子太多了在开头的一个场景中，叙述者的新养母金塞拉夫人(Mrs. Kinsella)给孩子洗澡。孩子想:“她的手和我妈妈的手很像，但里面还有别的东西，一种我以前从未有过的感觉，也说不出名字的东西。”我感到无言可说，但这是一个新的地方，需要新的词汇”(Keegan 2008: 18)。虽然基冈的文本没有在《儿童性丑闻和现代爱尔兰文学:书写无法言说的》(2020)中被提及，但在这个亲密的场景中，儿童主角的“失语”让人想起约瑟夫·瓦伦蒂和玛戈特·盖尔·巴克斯研究的小说中心的许多儿童角色的经历:无法用语言表达他们所目睹或忍受的事情。在《儿童性丑闻》的前言中，著名的爱尔兰文化评论家芬坦·奥图尔(Fintan O 'Toole)讨论了写作在揭露不可言说的事情的过程中所起的作用，尤其是当这些事情涉及儿童时。奥图尔解释说:“在生活中，孩子们所知道的很多东西只能在安静的语言中交流——无法言说的东西实际上是无法书写的。”在艺术中，写作占据了言语的位置，或多或少地明确地揭示了年轻人物自己或周围世界没有说出来的东西”(xiv)。仔细倾听“没有说出来的东西”是这项研究的动力。巴克斯和瓦伦特——两位爱尔兰文学研究领域的关键人物——试图从一些最受研究的爱尔兰作家的20世纪和21世纪的短篇故事和小说中挖掘出关于儿童性虐待的“难以言说”的叙述。
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Pub Date : 2022-09-01DOI: 10.1215/0041462x-10028096
M. Farrant
Abstract:J. M. Coetzee’s 1969 dissertation on Samuel Beckett, which remains unpublished, has been addressed variously within Coetzee studies, but we have not yet appreciated the close relation between this extraordinary postgraduate work and Coetzee’s later fiction. This is partly because Coetzee later distanced himself both from Beckett and from the mathematics important to his dissertation but seemingly at odds with his later creative practice as a novelist. In this essay I provide an account of the literary-critical and literary-historical context of Coetzee’s postgraduate research. Rarely have we seen an instance where one major writer is both a major influence on another but also the subject of that other’s rigorous academic study. From the infertile soil of the field of stylostatistics, this essay aims to trace the unlikely flowering of Coetzee’s doctoral work in his later writings and in the development of what I term a poetics of embeddedness. Coetzee’s early work as a forerunner in the digital humanities, and his writings on form, style, and linguistic skepticism, also shed light on contemporary debates about postcritique and the possibility of politically committed literature.
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Pub Date : 2022-09-01DOI: 10.1215/0041462x-10028070
Patrick Kindig
Abstract:This article examines the representational slippage between queerness and entranceability in two queer modernist novels, Djuna Barnes’s Nightwood and John Rechy’s City of Night. Highlighting the historical and conceptual overlap between early sexological work on inversion and early psychological work on trance, it argues that, in the late nineteenth and early twentieth centuries, queer desire was in part understood as a function of compulsively misdirected and pathologically fixed attention. Embracing rather than refuting this model of queerness, writers such as Barnes and Rechy drew on the language and imagery of homoerotic entrancement to cultivate a mesmerizing—and distinctly queer—aesthetic, incorporating entrancement into their writing at the levels of both form and content. The article thus suggests that sexology provided writers such as Barnes and Rechy with an unexpected method for capturing and holding the attention of their readers, shaping queer modernist aesthetics in an oft-overlooked way.
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Pub Date : 2022-09-01DOI: 10.1215/0041462x-10028083
Sarah Berry
Abstract:Derek Walcott’s Harry Dernier and Sylvia Plath’s Three Women, two littleknown, midcentury radio plays, cultivate characters who sound like the speaker of a lyric poem, even as they foreground the invisible bodies behind the voices. In offering us voices that both invite and obstruct lyric reading, Plath and Walcott make manifest a tension present in all lyric poetry—between the embodied individual, on the one hand, and the lyric speaker, on the other. Harry Dernier parodies prominent instances of poetic address, dramatizing the inadequacy of the Western literary tradition in the face of a real catastrophe. Three Women invites the audience to interpret its speakers lyrically, but then undermines the possibility of such interpretation by pointing to the ways that these voices belong to specific, gendered bodies. In this way, Plath highlights the ambiguity in how the term “voice” is used in relation to lyric and, in this, shapes a critique of lyric voicing.
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Pub Date : 2022-09-01DOI: 10.1215/0041462x-10028044
A. Cheng
Abstract:The winner of this year’s prize is Aaron Chandler’s “Slum Simulacra: Jack Kerouac, Oscar Lewis, and Cultures of Poverty.” The judge is Anne Anlin Cheng, professor of English at Princeton University and an affiliated faculty in the Program in American Studies, the Program in Gender and Sexuality Studies, and the Committee on Film Studies. She is an interdisciplinary race scholar who focuses on the intersection between aesthetics and politics, drawing from literary theory, race and gender studies, film and architectural theory, legal studies, and psychoanalysis.
{"title":"On the Andrew J. Kappel Prize Essay","authors":"A. Cheng","doi":"10.1215/0041462x-10028044","DOIUrl":"https://doi.org/10.1215/0041462x-10028044","url":null,"abstract":"Abstract:The winner of this year’s prize is Aaron Chandler’s “Slum Simulacra: Jack Kerouac, Oscar Lewis, and Cultures of Poverty.” The judge is Anne Anlin Cheng, professor of English at Princeton University and an affiliated faculty in the Program in American Studies, the Program in Gender and Sexuality Studies, and the Committee on Film Studies. She is an interdisciplinary race scholar who focuses on the intersection between aesthetics and politics, drawing from literary theory, race and gender studies, film and architectural theory, legal studies, and psychoanalysis.","PeriodicalId":44252,"journal":{"name":"TWENTIETH CENTURY LITERATURE","volume":"11 1","pages":"241 - 242"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89227365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-01DOI: 10.1215/0041462x-10028109
Nels C. Pearson
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