Pub Date : 2023-08-01DOI: 10.1215/00295132-10562835
Victoria Coulson
This article begins with critics’ hostility toward Gilbert Osmond, the notorious villain of Henry James's The Portrait of a Lady (1881). It identifies this tradition as a response to Osmond's identity as a trans woman and to the mode of embodiment that Osmond demonstrates as one possible solution to the problem of the “wrong body.” The article's first half sketches the status of the wrong body in trans studies, where the concept is disfavored as reproducing a repressive ideology, in contrast to its characterization in Lacanian psychoanalysis as psychotic. The article demonstrates, nonetheless, in the principles of Lacanian theory the postulation of a class of subjects whose psychic sexuation as men or women does not match up with the symbolic sexual identity of their physical persons: subjects who cannot, therefore, assume their physical persons as their bodies (the article terms such embodiment “co-located”). It then develops a Lacanian analysis of the solution modeled by Osmond to the wrong body problem: “translocated embodiment,” in which a subject assumes as their body a sexed form other than their physical person. The second half of the article explores the operation of translocated embodiment in the Anglo-American leisure-class community of The Portrait of a Lady. The aestheticism of Gilbert Osmond, Ralph Touchett, and Edward Rosier is read as a historically specific instance of translocated embodiment. Social disfavor of their overt translocation drives James's three connoisseurs, as transgender subjects, to attempt covert translocation via heterosexual courtship and matrimony, aiming to secure advantageous representation in the form of cisgender women.
本文从评论家对吉尔伯特·奥斯蒙德的敌意开始，他是亨利·詹姆斯的《贵妇人画像》(1881)中臭名昭著的恶棍。它将这一传统视为对奥斯蒙德作为跨性别女性身份的回应，也是对奥斯蒙德所展示的一种可能解决“错误身体”问题的体现模式的回应。文章的前半部分概述了“错误身体”在跨性别研究中的地位，这个概念不受欢迎，因为它再现了一种压抑的意识形态，与拉康精神分析中将其定性为精神病形成鲜明对比。尽管如此，在拉康理论的原则中，这篇文章证明了一类主体的假设，他们作为男人或女人的精神性行为与他们肉体的象征性性身份不匹配:因此，这些主体不能将他们的肉体作为他们的身体(这篇文章将这种体现称为“共定位”)。然后，它发展了一种拉康式的分析，以奥斯蒙德为模型来解决错误的身体问题:“移位的化身”，其中一个主体假设他们的身体是一种性别形式，而不是他们的肉体。文章的后半部分探讨了《贵妇人画像》在英美有闲阶层社会中的移位化身运作。Gilbert Osmond, Ralph Touchett和Edward Rosier的唯美主义被解读为历史上特定的移位体现的实例。社会对他们公开变性的不满驱使詹姆斯笔下的三位鉴赏家，作为变性人，试图通过异性恋求爱和婚姻来进行隐蔽的变性，目的是确保以顺性女性的形式获得有利的表现。
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Pub Date : 2023-08-01DOI: 10.1215/00295132-10562799
N. T. Kortenaar
Marlon James's A Brief History of Seven Killings fictionalizes a historical incident, the shooting of Bob Marley in Kingston in 1976, and the larger political, economic, and cultural forces that led to it and emerged from it. Real people can enter fiction and retain their names if they have already entered history or journalism—if, in other words, they are already part of a shared imagination. But there is a difference between the local Jamaican and global collective memories, a difference that determines which people keep their names and how people are remembered. People seek to enter the imagination of others, but to do so is also to risk being hollowed out and rendered imaginable, becoming a fictional character and less than a full person. But if there is only fiction, fiction also contributes to the collective memory. An awareness of the performative nature of identity and action is precisely how one can control how one is remembered and, just as important, how one eludes the imagination of others. A Brief History adds to the collective memory of readers everywhere but recognizes that Jamaicans already have their own collective memory, that they are self-conscious about what it means to come to the attention of others, and that they have always contributed to shaping the larger collective memory, including when they do not appear in it.
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Pub Date : 2023-08-01DOI: 10.1215/00295132-10562907
Michael North
{"title":"Mental Reflexes","authors":"Michael North","doi":"10.1215/00295132-10562907","DOIUrl":"https://doi.org/10.1215/00295132-10562907","url":null,"abstract":"","PeriodicalId":44981,"journal":{"name":"NOVEL-A FORUM ON FICTION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49473942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1215/00295132-10251316
Mary L. Mullen
{"title":"Strange Forms","authors":"Mary L. Mullen","doi":"10.1215/00295132-10251316","DOIUrl":"https://doi.org/10.1215/00295132-10251316","url":null,"abstract":"","PeriodicalId":44981,"journal":{"name":"NOVEL-A FORUM ON FICTION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49501073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1215/00295132-10251190
A. Moskowitz
This article investigates a central problem for literary aesthetics in the nineteenth century: why literature won't directly represent Black revolution. It argues that in Blake; or, The Huts of America, Martin Delany thinks through the structural impossibility of conceptualizing a specifically Black sociality by continually refusing to depict Black revolution at the level of the plot. Instead, Blake ties together Black labor with revolution to suggest that within the context of the system of capital in the nineteenth century, Black labor's central role in the world economy renders the social nature of Black revolution similarly imperceptible. Blake reproduces this imperceptibility and unthinkability through its structure. The book, which is famously incomplete, ends just as a violent revolution is about to erupt in Cuba. Whether the final chapters were lost or never written in the first place, this article tracks how this same anticlimactic and nonrepresentational narrative mode is repeated throughout the novel. It suggests that these conspicuous absences serve as formal literary interventions that point toward the impossibility of thinking, sensing, and thereby representing a specifically Black sociality. The article explores how Delany adopts the literary technique of withholding used in the slave narrative to actively play with the formal and generic bounds of the novel and the slave narrative alike. By adopting this familiar technique, Delany asks what role the novel has within the African American literary tradition and what role fiction can play in interrogating the limits of a mode of political thought hemmed in by a racialized political economy.
{"title":"The Racial Economy of Perception: Reading Black Sociality in the Nineteenth Century","authors":"A. Moskowitz","doi":"10.1215/00295132-10251190","DOIUrl":"https://doi.org/10.1215/00295132-10251190","url":null,"abstract":"\u0000 This article investigates a central problem for literary aesthetics in the nineteenth century: why literature won't directly represent Black revolution. It argues that in Blake; or, The Huts of America, Martin Delany thinks through the structural impossibility of conceptualizing a specifically Black sociality by continually refusing to depict Black revolution at the level of the plot. Instead, Blake ties together Black labor with revolution to suggest that within the context of the system of capital in the nineteenth century, Black labor's central role in the world economy renders the social nature of Black revolution similarly imperceptible. Blake reproduces this imperceptibility and unthinkability through its structure. The book, which is famously incomplete, ends just as a violent revolution is about to erupt in Cuba. Whether the final chapters were lost or never written in the first place, this article tracks how this same anticlimactic and nonrepresentational narrative mode is repeated throughout the novel. It suggests that these conspicuous absences serve as formal literary interventions that point toward the impossibility of thinking, sensing, and thereby representing a specifically Black sociality. The article explores how Delany adopts the literary technique of withholding used in the slave narrative to actively play with the formal and generic bounds of the novel and the slave narrative alike. By adopting this familiar technique, Delany asks what role the novel has within the African American literary tradition and what role fiction can play in interrogating the limits of a mode of political thought hemmed in by a racialized political economy.","PeriodicalId":44981,"journal":{"name":"NOVEL-A FORUM ON FICTION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48161088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1215/00295132-10251226
Chloë Kitzinger
This article argues that the early twentieth-century Dostoevsky criticism of Russian Symbolist thinkers, roughly contemporaneous with Henry James's New York Edition prefaces, laid the foundation for an alternative line of novel theory, engaged not with the novel's claim to the status of high art but with the possibility of an unmediated exchange between literature and life. Interpreting Dostoevsky as a precursor to their own ideal of “life-creation,” Symbolist writers like Dmitry Merezhkovsky and Viacheslav Ivanov formulated the influential cultural construct called here the liminal Dostoevsky: Dostoevsky as a novelist who not only represents characters at the extremes of human being but also transgresses the conventional boundaries of literary texts. The liminal Dostoevsky became vital to two foundational works of novel theory, Georg Lukács's The Theory of the Novel (1916) and Mikhail Bakhtin's Problems of Dostoevsky's Creative Art (1929). While Lukács's later conversion to Marxism led him away from the ideal of erasing the boundary between art and life, Bakhtin pursued it throughout his writings, smuggling the logic of Symbolist life-creation into the language of modern literary theory. Now is an apt moment to revisit this genealogy. As writers and theorists of autofiction and the contemporary novel renew the dream of transcending aesthetic representation, it is crucial to historicize and interrogate our tendency to privilege the novel's capacity for dialogue with the reader over its capacity to weave immersive fictional illusions. Dostoevsky's example suggests, instead, that these two sides of novelistic creation exist in productive and perpetual tension.
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Pub Date : 2023-05-01DOI: 10.1215/00295132-10251280
Morgan Day Frank
Longer than a short story but shorter than a novel, the novella appears to occupy a clear formal niche. However, novellas have posed problems for even the most basic taxonomies of literary criticism and publishing. Though the novella is defined by its length, length alone has never been sufficient to determine whether a text counts as a novella. Though the novella is a global form, shared among many national literary cultures, its transnational history is muddled by terminological inconsistency. This article sets out to understand the novella as a slippery form, one that slides through the institutional machinery that administers literary production. It centers its investigation on the United States during a period in global cultural history when the literary field was slowly coming into existence. In this environment, a group of long short stories or short novels—Nathaniel Hawthorne's “The Scarlet Letter,” Herman Melville's “Benito Cereno,” and Frederick Douglass's The Heroic Slave—revealed the incoherence of “literature” as it gradually assumed its modern form.
{"title":"Notes on the Novella","authors":"Morgan Day Frank","doi":"10.1215/00295132-10251280","DOIUrl":"https://doi.org/10.1215/00295132-10251280","url":null,"abstract":"\u0000 Longer than a short story but shorter than a novel, the novella appears to occupy a clear formal niche. However, novellas have posed problems for even the most basic taxonomies of literary criticism and publishing. Though the novella is defined by its length, length alone has never been sufficient to determine whether a text counts as a novella. Though the novella is a global form, shared among many national literary cultures, its transnational history is muddled by terminological inconsistency. This article sets out to understand the novella as a slippery form, one that slides through the institutional machinery that administers literary production. It centers its investigation on the United States during a period in global cultural history when the literary field was slowly coming into existence. In this environment, a group of long short stories or short novels—Nathaniel Hawthorne's “The Scarlet Letter,” Herman Melville's “Benito Cereno,” and Frederick Douglass's The Heroic Slave—revealed the incoherence of “literature” as it gradually assumed its modern form.","PeriodicalId":44981,"journal":{"name":"NOVEL-A FORUM ON FICTION","volume":"145 ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41274166","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1215/00295132-10251208
Timothy Lem-Smith
This article makes the case for a rejuvenated and multifaceted mode of paranoid reading. Eve Sedgwick famously used the term paranoid reading to signal critique's overblown, cynical, and alarmist tendencies and to provisionally create the space for a reparative alternative. Since then, the specific concept of paranoia has barely figured in the dispute over critique's usefulness, appearing only latently in, for example, Bruno Latour's “Why Has Critique Run Out of Steam?” when he evokes conspiracy theory as a symptom of the mainstream's oversaturation by the precepts of theory. It was thus that paranoia became once again the domain of political ideologues and their fervent supporters rather than a viable mode of literary critical engagement. Against recent postcritical dismissals of critique and other suspicious hermeneutics, the article argues that paranoia offers one of the most generative sites of potential collaboration between criticism and the novel. Circumscribing this potential, the article discovers three distinct but imbricated paranoid styles in Colson Whitehead's first novel, The Intuitionist: the racialized paranoid imperative, paranoid double consciousness, and what I tentatively call aleatory paranoia. These styles characterize a radical form of racialized paranoid thought whose diverse precepts constellate into a genuine mode of critique, not only of the structures of white supremacy but of the forms of fatalistic racial capitalist ideology that enable their persistence. The article thus serves to exemplify the expanded horizon of critical possibility enabled by a mode of reading that takes the novel as a site of the production of new ways of knowing.
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Pub Date : 2023-05-01DOI: 10.1215/00295132-10251334
Paul Stasi
{"title":"The Privilege of Art","authors":"Paul Stasi","doi":"10.1215/00295132-10251334","DOIUrl":"https://doi.org/10.1215/00295132-10251334","url":null,"abstract":"","PeriodicalId":44981,"journal":{"name":"NOVEL-A FORUM ON FICTION","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46372877","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.1215/00295132-10251298
Marta Figlerowicz
{"title":"Prosthetic Grand Synthesis","authors":"Marta Figlerowicz","doi":"10.1215/00295132-10251298","DOIUrl":"https://doi.org/10.1215/00295132-10251298","url":null,"abstract":"","PeriodicalId":44981,"journal":{"name":"NOVEL-A FORUM ON FICTION","volume":"21 8","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41286580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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