Pub Date : 2023-11-29DOI: 10.1353/sdn.2023.a913305
Bonnie Shishko
This essay explores the queer temporalities figured within “culinary-romane”: those contemporary, coming-of-age novels that use food to interrogate the literary construct of the female journey. In opposition to the female Bildungsroman, which maps maturation via hegemonic temporal structures—historical, narrative, reproductive—the culinary-roman cleaves development from heteropatriarchal time. Instead, it conceives anti-normative models of female development via “alimentary temporalities”: atemporal narrative spaces constructed through recipes, food nightmares, family meals, and magical cooking and eating. Using Han Kang’s surrealist allegory The Vegetarian (2007) as a case study, this essay uncovers the ways strange alimentary temporalities in Han’s novel formally decenter sexual attraction as a marker of modern subject formation, uncovering the Bildungsroman’s structural perpetuation of compulsory sexuality and its attendant abuses. Through its food-driven, double frame-tale narration, The Vegetarian unsettles received notions of narrative coherence, generic classification, and the relationship between sexuality and subjectivity.
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Pub Date : 2023-11-29DOI: 10.1353/sdn.2023.a913308
Chiara Pellegrini
Popular narratives about trans identity traditionally rely on a metaphorical understanding of trans embodiment as a linear and unidirectional journey. This paper discusses how this temporality is questioned, reshaped, interrupted, and sidestepped in five recent novels by trans and non-binary authors: Torrey Peters’s Detransition, Baby (2021), Andrea Lawlor’s Paul Takes the Form of a Mortal Girl (2017), Juno Dawson’s Wonderland (2020), Rivers Solomon’s An Unkindness of Ghosts (2017), and Alison Rumfitt’s Tell Me I’m Worthless (2021). The spatiotemporal organization of these novels negotiates the linearities that are conventionally employed in relation to trans stories, as each text engages with the conventions of specific genres—from the Bildungsroman to the picaresque, from science fiction to “chick lit,” from young adult literature to horror—in order to move beyond the structure of the personal transition journey.
关于跨性别身份的流行叙事传统上依赖于对跨性别化身的隐喻性理解，将其视为线性和单向的旅程。本文讨论了跨性别和非二元性别作家最近的五部小说是如何质疑、重塑、打断和回避这种时间性的:托里·彼得斯的《Detransition, Baby》(2021)、安德里亚·劳勒的《保罗以凡人女孩的形式出现》(2017)、朱诺·道森的《Wonderland》(2020)、里弗斯·所罗门的《An Unkindness of Ghosts》(2017)和艾莉森·拉姆菲特的《Tell Me I 'm不值一文》(2021)。这些小说的时空组织协调了传统上与跨性别故事相关的线性关系，因为每个文本都与特定体裁的惯例有关——从成长小说到流浪汉小说，从科幻小说到“少女文学”，从青年文学到恐怖小说——为了超越个人过渡旅程的结构。
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Pub Date : 2023-11-29DOI: 10.1353/sdn.2023.a913300
Angela Yang Du, Tara MacDonald
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> Introduction: <span>Novel Futures Beyond Times of Crisis</span> <!-- /html_title --></li> <li> Angela Yang Du (bio) and Tara MacDonald (bio) </li> </ul> <blockquote> <p>“Reclaiming my time, reclaiming my time, reclaiming my time.”</p> – Maxine Waters, 2017 </blockquote> <p>During a United States committee hearing in 2017, Congresswoman Maxine Waters interrupted Treasury Secretary Steven Mnuchin with this now notorious phrase. Mnuchin had been responding to Waters’s question about a letter from her office with compliments and platitudes, a tactic that Waters recognized as stonewalling: “Thank you very much. I don’t want to take my time over how great I am.” When Mnuchin protested that, according to the rules, he should not be interrupted, Waters reminded him that, according to the same rules, “when you’re on my time, I can reclaim it” (“User Clip”). Although Waters invoked House procedural rules, which honor a representative’s time allotment when given the floor, a Black woman’s refusal to yield her time to a white, male colleague resonated powerfully with many who were fed up with electoral tensions, misogyny, and racism.</p> <p>“Reclaiming my time” would continue to be an apt anthem a few years later, when the World Health Organization officially declared the spread of COVID-19 a pandemic.<sup>1</sup> The global crisis, which officially ended in May 2023, was (and is) marked by multiple kinds of lost, fractured, and precarious time: postponed or cancelled social gatherings, developmental delays in children and adolescents, the juggling of multiple jobs due to mass unemployment, the simultaneity of caregiving while working from home, the uncertainty of the pandemic’s length, and, of course, the cumulative cases of illness and death. This period was also marked by intense racial and political protests around the world. While these typically responded to incidents of social injustice, they also reminded people <strong>[End Page 365]</strong> of chronic conditions underlying present violence: historically disenfranchised groups did not necessarily register “the new normal” as a disruption.</p> <p>The normalization of inequity during COVID-19’s spread was deeply gendered. Women across multiple sectors struggled with the competing demands of work and increased caregiving duties (Oleschuk, Squazzoni), resulting in a “shecession” (Gupta, Elting). Moreover, Black women were (and remain) disproportionately tasked with the labor of providing essential care, fighting racism, and performing what Christina Sharpe calls “wake work” (17). The pandemic confirmed what was already widely accepted: in a crisis, feminine, racialized, and marginalized bodies are asked to yield their time to perform more affective and domestic labor in the hopes that this work preserves some sense of normalcy. Sara Ahmed reminds us that, when time is shared, inequ
{"title":"Introduction: Novel Futures Beyond Times of Crisis","authors":"Angela Yang Du, Tara MacDonald","doi":"10.1353/sdn.2023.a913300","DOIUrl":"https://doi.org/10.1353/sdn.2023.a913300","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Introduction: <span>Novel Futures Beyond Times of Crisis</span> <!-- /html_title --></li> <li> Angela Yang Du (bio) and Tara MacDonald (bio) </li> </ul> <blockquote> <p>“Reclaiming my time, reclaiming my time, reclaiming my time.”</p> – Maxine Waters, 2017 </blockquote> <p>During a United States committee hearing in 2017, Congresswoman Maxine Waters interrupted Treasury Secretary Steven Mnuchin with this now notorious phrase. Mnuchin had been responding to Waters’s question about a letter from her office with compliments and platitudes, a tactic that Waters recognized as stonewalling: “Thank you very much. I don’t want to take my time over how great I am.” When Mnuchin protested that, according to the rules, he should not be interrupted, Waters reminded him that, according to the same rules, “when you’re on my time, I can reclaim it” (“User Clip”). Although Waters invoked House procedural rules, which honor a representative’s time allotment when given the floor, a Black woman’s refusal to yield her time to a white, male colleague resonated powerfully with many who were fed up with electoral tensions, misogyny, and racism.</p> <p>“Reclaiming my time” would continue to be an apt anthem a few years later, when the World Health Organization officially declared the spread of COVID-19 a pandemic.<sup>1</sup> The global crisis, which officially ended in May 2023, was (and is) marked by multiple kinds of lost, fractured, and precarious time: postponed or cancelled social gatherings, developmental delays in children and adolescents, the juggling of multiple jobs due to mass unemployment, the simultaneity of caregiving while working from home, the uncertainty of the pandemic’s length, and, of course, the cumulative cases of illness and death. This period was also marked by intense racial and political protests around the world. While these typically responded to incidents of social injustice, they also reminded people <strong>[End Page 365]</strong> of chronic conditions underlying present violence: historically disenfranchised groups did not necessarily register “the new normal” as a disruption.</p> <p>The normalization of inequity during COVID-19’s spread was deeply gendered. Women across multiple sectors struggled with the competing demands of work and increased caregiving duties (Oleschuk, Squazzoni), resulting in a “shecession” (Gupta, Elting). Moreover, Black women were (and remain) disproportionately tasked with the labor of providing essential care, fighting racism, and performing what Christina Sharpe calls “wake work” (17). The pandemic confirmed what was already widely accepted: in a crisis, feminine, racialized, and marginalized bodies are asked to yield their time to perform more affective and domestic labor in the hopes that this work preserves some sense of normalcy. Sara Ahmed reminds us that, when time is shared, inequ","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"63 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540326","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 : 2023-11-29DOI: 10.1353/sdn.2023.a913301
Angela Yang Du
Kazuo Ishiguro’s Never Let Me Go (2005) exemplifies the contemporary Anglophone novel’s inheritance of the Victorian novel. Specifically, it reworks this historical genre’s thematization of an unchanging present for marginalized subjects. In Ishiguro’s counterfactual Britain, cloned beings are raised for organ harvesting. The predetermined condition of their trajectories applies to countless Victorian heroines. By comparing Ishiguro’s protagonist to the heroine of George Eliot’s Daniel Deronda (1876), I demonstrate that Ishiguro’s novel recontextualizes a gendered lack of futurity in the Victorian novel. Additionally, I connect pro-clone advocacy in Never Let Me Go to mid-Victorian liberalism. Despite professing objectivity and disinterestedness, the advocates reproduce the British public’s subordination of clones to a class of non-persons. As one of the Victorian novel’s futures, Never Let Me Go illustrates how the Anglophone novel still grapples with unjust experiences of the present while challenging readers’ assumptions of personhood, individuality, and difference.
{"title":"Reading the Victorian Novel's Future in Never Let Me Go","authors":"Angela Yang Du","doi":"10.1353/sdn.2023.a913301","DOIUrl":"https://doi.org/10.1353/sdn.2023.a913301","url":null,"abstract":"<p><p>Kazuo Ishiguro’s <i>Never Let Me Go</i> (2005) exemplifies the contemporary Anglophone novel’s inheritance of the Victorian novel. Specifically, it reworks this historical genre’s thematization of an unchanging present for marginalized subjects. In Ishiguro’s counterfactual Britain, cloned beings are raised for organ harvesting. The predetermined condition of their trajectories applies to countless Victorian heroines. By comparing Ishiguro’s protagonist to the heroine of George Eliot’s <i>Daniel Deronda</i> (1876), I demonstrate that Ishiguro’s novel recontextualizes a gendered lack of futurity in the Victorian novel. Additionally, I connect pro-clone advocacy in <i>Never Let Me Go</i> to mid-Victorian liberalism. Despite professing objectivity and disinterestedness, the advocates reproduce the British public’s subordination of clones to a class of non-persons. As one of the Victorian novel’s futures, <i>Never Let Me Go</i> illustrates how the Anglophone novel still grapples with unjust experiences of the present while challenging readers’ assumptions of personhood, individuality, and difference.</p></p>","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"63 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540335","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 : 2023-09-01DOI: 10.1353/sdn.2023.a905805
Marco Caracciolo
Abstract:Numerous scholars have argued that narrative multilinearity defines the contemporary novel's engagement with planetary processes ranging from globalization to ecological and migrant crises. This article seeks to develop and clarify the notion of multilinearity, adopting a narratological framework that distinguishes between three dimensions of multilinear novels—what I call their linkage, distribution, and focus. I discuss examples for each of these dimensions, examining their interaction and also investigating, from a broadly New Formalist perspective, how they speak to larger tensions, inherent in globalization, between cosmopolitan aspirations and a history of inequalities. In the final section, I turn to Hanya Yanagihara's novel To Paradise as a powerful illustration of how multilinear form is able to probe the complexity and moral murkiness of global processes, particularly when novelistic narrative resists the temptation of a closed form and instead embraces the instability of the multilinear.
{"title":"The Global and the Multilinear: Novelistic Forms for Planetary Processes","authors":"Marco Caracciolo","doi":"10.1353/sdn.2023.a905805","DOIUrl":"https://doi.org/10.1353/sdn.2023.a905805","url":null,"abstract":"Abstract:Numerous scholars have argued that narrative multilinearity defines the contemporary novel's engagement with planetary processes ranging from globalization to ecological and migrant crises. This article seeks to develop and clarify the notion of multilinearity, adopting a narratological framework that distinguishes between three dimensions of multilinear novels—what I call their linkage, distribution, and focus. I discuss examples for each of these dimensions, examining their interaction and also investigating, from a broadly New Formalist perspective, how they speak to larger tensions, inherent in globalization, between cosmopolitan aspirations and a history of inequalities. In the final section, I turn to Hanya Yanagihara's novel To Paradise as a powerful illustration of how multilinear form is able to probe the complexity and moral murkiness of global processes, particularly when novelistic narrative resists the temptation of a closed form and instead embraces the instability of the multilinear.","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"55 1","pages":"325 - 340"},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45671246","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 : 2023-09-01DOI: 10.1353/sdn.2023.a905802
Pamela L. Weidman
Abstract:This essay uses early twentieth-century animation to understand Marcel Proust's surprisingly minimalist approach to detail, and how In Search of Lost Time reworks the connection between the limits of description and autonomous character. Proust's Search and films by Georges Méliès and Émile Cohl share a guiding concern with how to bring characters "to life" out of relatively simple elements. In his attempts to understand others, Proust's Narrator returns to a few typifying details, and layers them against changing backgrounds, so that his characters remain identifiable even as they undergo continuous social and aesthetic transformations, beyond the purview of his gaze. As well as informing an approach to Proustian character, this essay illuminates the films' staging of elaborate ethical encounters between animator and character. In this way, the techniques of animation provide a set of cross-medial tools for understanding aesthetic vision and character at the start of the twentieth century.
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Pub Date : 2023-09-01DOI: 10.1353/sdn.2023.a905814
{"title":"Contributors","authors":"","doi":"10.1353/sdn.2023.a905814","DOIUrl":"https://doi.org/10.1353/sdn.2023.a905814","url":null,"abstract":"","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135049377","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 : 2023-09-01DOI: 10.1353/sdn.2023.a905806
Bryan Counter
{"title":"The Proustian Mind ed. by Anna Elsner and Thomas Stern (review)","authors":"Bryan Counter","doi":"10.1353/sdn.2023.a905806","DOIUrl":"https://doi.org/10.1353/sdn.2023.a905806","url":null,"abstract":"","PeriodicalId":54138,"journal":{"name":"STUDIES IN THE NOVEL","volume":"55 1","pages":"341 - 343"},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42451328","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 : 2023-09-01DOI: 10.1353/sdn.2023.a905804
Liliana M. Naydan
Abstract:This article considers the hybrid form and content of Our Country Friends through the lens of Gary Shteyngart's Russian-Jewish immigrant experience, arguing that through references to Chekhov's plays and reality television Shteyngart portrays the migratory movement of performance as a genre amid the viral spread of Covid-19 in the US. The genre migration that Shteyngart generates in his novel confounds the borders of literary forms, nations, and reality. It also critiques the performance of features of Russia's past in the xenophobic American present and sets the stage for an innovative performance of an American future that subverts conventional American bigotry.
摘要：本文通过加里·施特因加特（Gary Shteyngart）的俄罗斯-日本移民经历的视角，审视了《我们的乡村朋友》（Our Country Friends）的混合形式和内容，认为通过引用契诃夫的戏剧和真人秀，施特因格特将表演的移民运动描绘成新冠肺炎在美国病毒传播期间的一种流派。Shteyngart在他的小说中产生的类型迁移混淆了文学形式、国家和现实的边界。它还批评了俄罗斯过去的特点在仇外的美国现在的表现，并为颠覆美国传统偏见的美国未来的创新表现奠定了基础。
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Pub Date : 2023-09-01DOI: 10.1353/sdn.2023.a905808
Tobias Wilson-Bates
shares many of the same primary novelists as Kerr’s. Further, for a project so interested in narrative aesthetics and the push and pull between the literal and the figurative, it was surprising to find much classic narratology on metaphorics and literary structure (Culler, de Man, and Spivak, for instance) absent, aside from a brief glance at Paul Ricoeur. The result of this under-theorization is a vertiginous feeling that All at Sea, while deeply invested in adducing historical and critical context to its primary texts, omits important critical histories and theoretical models relevant to its intervention and discursive framework. Perhaps more troubling is the lack of a citational practice that incorporates the varied bodies of criticism on race and empire into the project’s discursive mainstream. All at Sea does discuss race and empire as represented subject matters in the novels under discussion, especially in the book’s excellent second chapter on Marryat, which will become a touchstone for scholars who work on the author. Further, in the last chapter’s analyses of The Voyage Out and The Waves, Kerr convincingly demonstrates that Woolf’s feminism depended on a masculinist imperial fantasy projected across the sea. The rest of the book engages with empire and postcolonial studies unevenly, and sometimes only at the level of thematization—a constraint not imposed on Kerr’s focus on oceanic aesthetics. Kerr’s ambitious literary-historical claim cited previously—where he seeks to complicate the status of “marine metaphor” and nautical aesthetics (8)—appears after a not-inaccurate but oddly incomplete treatment of Christina Sharpe’s In the Wake: “Sharpe’s project is in part to trace the ways in which marine metaphors both witness and conceal anti-Blackness” (7). The discontinuity between All at Sea’s deployment of figuration and Sharpe’s work encapsulates both the shortcomings of this use of “marine metaphor” and the ways that a more thoroughgoing engagement with Black studies and Caribbean studies could have added conceptual nuance to the monograph’s key ideas. The Spillers passage I began with, for instance, theorizes “figurative darkness” in a maritime context. The voluminous scholarship on the Zong massacre (not present in All at Sea)— including Sharpe’s own treatment of this historically relevant maritime event—and the long, rich history of Caribbean studies are full of theoretical and historical approaches to narrating the unnarratable and representing the indeterminate. When All at Sea is taken as a whole project, it is a disorienting experience to read a book on the novel and the sea where scholarship on empire and race are not constitutive parts of the core intervention, and where other key figures are omitted. However, scholars with interest in the maritime associations of the major authors treated here will find All at Sea a useful resource, especially given the thorough archival work done to situate the book’s analyses of the novels un
和克尔的作品有许多相同的主要小说家。此外，对于一个对叙事美学以及字面和比喻之间的推拉关系如此感兴趣的项目，除了对Paul Ricoeur的短暂一瞥之外，令人惊讶的是发现许多关于隐喻和文学结构的经典叙述者(例如Culler, de Man和Spivak)缺席。这种理论化不足的结果是一种令人眩晕的感觉，即《海上一切》虽然深深投入于将历史和批判背景引入其主要文本，但却忽略了与其干预和话语框架相关的重要批判历史和理论模型。也许更令人不安的是缺乏引用实践，将对种族和帝国的各种批评纳入该项目的话语主流。在讨论的小说中，种族和帝国确实是被讨论的主题，尤其是在书中关于玛丽亚特的第二章中，这一章将成为研究作者的学者的试金石。此外，在最后一章对《远航》和《海浪》的分析中，克尔令人信服地证明了伍尔夫的女权主义依赖于大洋彼岸投射的男性主义帝国幻想。本书的其余部分不均匀地涉及帝国和后殖民研究，有时只是在主题化的层面上——这是克尔对海洋美学的关注所没有受到的限制。前面引用的Kerr雄心勃勃的文史主张——他试图将“海洋隐喻”和航海美学的地位复杂化(8)——出现在对Christina Sharpe的《In the Wake》的不准确但奇怪的不完整的处理之后:“夏普的项目在一定程度上是为了追溯海洋隐喻见证和隐藏反黑人的方式”(7)。《海上所有》中对形象的运用与夏普作品之间的不连续性，既体现了这种“海洋隐喻”使用的缺点，也体现了更彻底地参与黑人研究和加勒比研究本可以为专著的关键思想增加概念上的细微差别。例如，我开始读的斯皮尔斯的一段，在海洋背景下理论化了“具象的黑暗”。大量关于宗大屠杀的学术研究(《海上全集》中没有)——包括夏普自己对这一与历史相关的海上事件的处理——以及漫长而丰富的加勒比研究历史，充满了理论和历史的方法来叙述不可叙述的和代表不确定的。当《海上一切》被视为一个整体项目时，阅读一本关于小说和海洋的书是一种迷失方向的经历，其中关于帝国和种族的学术研究不是核心干预的组成部分，其他关键人物也被省略了。然而，对这里讨论的主要作者的海事联系感兴趣的学者会发现《海上一切》是一个有用的资源，特别是考虑到书中对小说分析所做的全面档案工作。
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