Pub Date : 2021-07-01DOI: 10.1215/00166928-9263118
Samuel Fallon
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Pub Date : 2021-07-01DOI: 10.1215/00166928-9263091
Melissa C. Macero
Is immersion merely a subjective response to a work, or can it be an objective formal feature of the work itself? This article examines the unique situation of horror as a genre that demands a substantial level of immersion in order to be successful and will begin to answer this question through a close reading of Marisha Pessl's Night Film (2013). Through the novel's intricate staging of different forms of immersion that is made possible by its extended length, this article argues that Pessl and the horror genre more generally seek to establish a difference between something like literal immersion, which requires the engrossment of a reader or viewer in the world of the story, and immersion as a formal technique, which is for the most part indifferent to the actual engagement of the audience and instead produces a claim immanent to the work itself.
{"title":"The Structure of Scares: Art, Horror, and Immersion in Marisha Pessl's Night Film","authors":"Melissa C. Macero","doi":"10.1215/00166928-9263091","DOIUrl":"https://doi.org/10.1215/00166928-9263091","url":null,"abstract":"Is immersion merely a subjective response to a work, or can it be an objective formal feature of the work itself? This article examines the unique situation of horror as a genre that demands a substantial level of immersion in order to be successful and will begin to answer this question through a close reading of Marisha Pessl's Night Film (2013). Through the novel's intricate staging of different forms of immersion that is made possible by its extended length, this article argues that Pessl and the horror genre more generally seek to establish a difference between something like literal immersion, which requires the engrossment of a reader or viewer in the world of the story, and immersion as a formal technique, which is for the most part indifferent to the actual engagement of the audience and instead produces a claim immanent to the work itself.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"167 3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83348279","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}
Pub Date : 2021-07-01DOI: 10.1215/00166928-9263104
B. de Bruyn
This article examines Lucy Ellmann's encyclopedic novel Ducks, Newburyport (2019) in the context of debates on modernist legacies, animal characters, and climate fiction. It pays particular attention to the text's signature strategy of including anecdotes about nonhuman creatures exposed to distinct forms of violence, anecdotes that reveal the concerns of the human narrator and her daughter but also highlight other animals, their unfamiliar phenomenologies, and their cautious cross-species partnerships. More specifically, the article tracks individual animals across the novel's pages and reconstructs their semiautonomous subplots as they unfold in a world characterized by animal cruelty, species extinction, and industrial labor. By forcing us to consider the perspectives of creatures like Jim, Mishipeshu, Audrey, and Gracia, Ellmann's narrative reminds us that the climate emergency does not just destabilize a shared geological environment but also endangers multiple and heterogeneous biological worlds.
{"title":"The Mom and the Many: Animal Subplots and Vulnerable Characters in Ducks, Newburyport","authors":"B. de Bruyn","doi":"10.1215/00166928-9263104","DOIUrl":"https://doi.org/10.1215/00166928-9263104","url":null,"abstract":"This article examines Lucy Ellmann's encyclopedic novel Ducks, Newburyport (2019) in the context of debates on modernist legacies, animal characters, and climate fiction. It pays particular attention to the text's signature strategy of including anecdotes about nonhuman creatures exposed to distinct forms of violence, anecdotes that reveal the concerns of the human narrator and her daughter but also highlight other animals, their unfamiliar phenomenologies, and their cautious cross-species partnerships. More specifically, the article tracks individual animals across the novel's pages and reconstructs their semiautonomous subplots as they unfold in a world characterized by animal cruelty, species extinction, and industrial labor. By forcing us to consider the perspectives of creatures like Jim, Mishipeshu, Audrey, and Gracia, Ellmann's narrative reminds us that the climate emergency does not just destabilize a shared geological environment but also endangers multiple and heterogeneous biological worlds.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75539908","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}
Pub Date : 2021-04-01DOI: 10.1215/00166928-8911550
Bradley J. Fest
In the twenty-first century, digital technologies have made it possible for writers and artists to create massively unreadable works through computational and collaborative composition, what the author has elsewhere called megatexts. The ubiquity of texts appearing across media that are quite literally too big to read—from experimental novels to television, film, and video games—signals that the megatext is an emergent form native to the era of neoliberalism. But what happens to other long forms, such as the twentieth-century long poem, when written in an era of megatextuality? Rachel Blau DuPlessis's work, including Drafts (1987–2013) and Traces, with Days (2017–), readily suggests itself as a case study for thinking through a megatextual impulse in the twenty-first-century long poem. Though her work is plainly indebted to its modernist precursors (H.D., Pound, Williams, etc.) while disavowing at every level of its composition a patriarchal will toward totality, DuPlessis's various experiments in the long poem are also thoroughly contemporary and respond to the economic, military, political, and environmental transformations of the neoliberal era by drawing upon and producing fragmentary, megatextual debris. This essay positions DuPlessis's work amidst a larger twenty-first-century media ecology, which includes both the megatext and the big, ambitious novel, and argues that rather than simply (and futilely) resist the neoliberal cultural logic of accumulation without end, DuPlessis hypertrophically uses the megatext's phallogocentric form against itself in order to interrogate more broadly what it means—socially, culturally, economically—to write a long poem in the age of hyperarchival accumulation.
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Pub Date : 2021-04-01DOI: 10.1215/00166928-8911511
Katarzyna Bartoszyńska
This essay argues for the power of free indirect discourse in the third-person narrative perspective to serve as a collective voice, encompassing a diversity of perspectives, through a reading of two novels by Olga Tokarczuk, Bieguni (Flights) and Księgi Jakubowe (Books of Jacob). Both novels investigate the challenges inherent in the project of providing an image of the world, and alongside various interventions on the level of content, each examines the kind of world-image that different approaches to narrative voice can produce. In Flights, the narrator's striving to arrive at a more expansive and synthetic knowledge of the world is accompanied by an effort to go beyond the first-person voice, to a broader perspective. The novel subtly demonstrates the impossibility of such efforts, but, the essay argues, Books of Jacob continues this project, albeit from the opposite direction, examining the affordances of the third-person voice. Its innovative use of free indirect discourse produces a perspective that, while appearing to be a single voice, contains multiple, contradictory points of view.
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Pub Date : 2021-04-01DOI: 10.1215/00166928-8911485
Maaheen Ahmed, Shiamin Kwa
In his discussion of the “big, ambitious novel,” James Wood dismisses both male and female authors but singles out Zadie Smith's White Teeth for most of his critique of what he terms “hysterical realism.” For Wood, recent long novels display too much imagination but not enough substance and depth of character; the new novel has become “a picture of life.” With its deliberate foregrounding of inhumanness and spectacularity, Emil Ferris's My Favorite Thing Is Monsters commits many of Wood's list of transgressions against the traditional novel. This article examines how Ferris's book is unaffected by negative reactions to this transgressiveness, championing transgression and ignored voices as the mode of expression best suited to the big, ambitious novel of our times. The book's heroine and purported author of the book touches readers and moves them through the monstrous form she imagines for herself. Her reproductions of comics covers and art works negotiate diverse visual vocabularies and their resulting aesthetic and historical scope. In filtering its story through a young protagonist who is marginalized on all counts (age, class, race, sex, sexual orientation), Ferris's “big, ambitious (graphic) novel” is also a layered response against the criticisms of childishness levied against comics. Transgression in My Favorite Thing Is Monsters becomes a way of rethinking tradition—of comics, of novels, and of graphic novels—in the broader terms of cultural history.
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Pub Date : 2021-04-01DOI: 10.1215/00166928-8911537
Sian White
This article responds to debates about the “big, ambitious novel” and “hysterical realism” by challenging several prevailing scholarly orthodoxies about large-scale fiction: that whole world-building precludes the rendering of a single, feeling human; that mimesis and “hysterical” traits, like absurdity, are mutually exclusive; or that a whole-world view requires third-person narrative omniscience. The analysis centers on Anna Burns's Milkman (2018), a novel set in Troubles-era Northern Ireland that connects a young woman's experience with gendered and sexual power to the behavior, prejudices, and tacit understandings that undergird a society locked in sectarian conflict. The article argues that the novel's form—a first-person, past-tense narration—lends the character-narrator unique credibility as a teller because she has both firsthand experience and the critical distance of hindsight. To avoid postures of certainty and authority that come with both political power and narrative omniscience, the narrator uses irony and self-consciousness to critique storyworld power dynamics and expectations of literary realism. Burns's big, ambitious novel reveals that conveying a whole world and portraying a single, feeling human are in fact mutually constitutive aims. Moreover, the digressive and often absurd narration is precisely what makes the storyworld a persuasively plausible, if not verisimilar, rendering of Troubles-era Northern Ireland. By linking nationalism to problems of gender and sexual politics at the time, Burns's novel issues a warning about the reactionary postures and polarization in the contemporary moment surrounding Brexit, the #MeToo movement, and surging violence in Northern Ireland.
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Pub Date : 2021-04-01DOI: 10.1215/00166928-8911524
M. Worthington
Ruth Ozeki's novel A Tale for the Time Being is an autofiction—a novel whose protagonist is a characterized version of its author and thereby straddles the line between memoir and fiction. In an American literary context, autofiction is a genre dominated by white male authors. This article argues that Ozeki's approach to autofiction is vastly different from that of most of her white, male counterparts in that the author-character “Ruth” does not lay sole claim to authorial authority, but rather works collaboratively with other characters to share creative power and the responsibility that comes with it. This innovative tactic helps chart a potential course for autofiction by women writers and writers of color.
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Pub Date : 2021-04-01DOI: 10.1215/00166928-8911498
Patricia Stuelke
This essay analyzes Valeria Luiselli's 2019 novel Lost Children Archive's attempt to imagine anti-imperialist solidarity aesthetics in a moment of the increasing imbrication of the US literary sphere and settler colonial capitalist surveillance of the US-Mexico border, as well as the nonprofit care regime that has arisen to oppose and ameliorate its effects. Because these structures converge around overt and subterranean investments in settler colonial frontier fantasy, the essay focuses particularly on Lost Children Archive's engagement with the tradition of the white male road novel Western in the Americas—Luiselli's attempts to write both through and against this form—as part of the novel's larger attempt to grapple with the formal problems that adhere in representing the temporality and scale of ongoing Central American Indigenous dispossession and refugee displacement in settler colonial capitalism. In exploring the degree to which the Western genre's tradition of, per Philip Deloria, “playing Indian” might oppose the brutal bureaucratic violence of the xenophobic carceral settler US state, the novel builds a critique of the frontier road novel fantasy that it cannot quite sustain.
本文分析了瓦莱里娅·路易斯利(Valeria Luiselli)在2019年出版的小说《迷失的孩子档案》(Lost Children Archive)中，在美国文学界日益融合、移民殖民资本主义对美墨边境的监视以及为反对和改善其影响而出现的非营利护理制度的时刻，她试图想象反帝国主义团结美学。因为这些结构集中在定居者对殖民边境幻想的公开和地下投资上，这篇文章特别关注《迷失儿童档案》与美国西部白人男性道路小说传统的接触——路易斯塞利试图通过和反对这种形式来写作——作为小说更大的尝试的一部分，它试图解决形式问题，这些问题坚持表现中美洲土著被剥夺和难民流离失所的临时性和规模。按照菲利普·德洛里亚(Philip Deloria)的说法，在探索西方小说类型的传统——“扮演印第安人”——在多大程度上可能会反对仇外移民美国州的残酷官僚暴力的过程中，这部小说建立了对边疆公路小说幻想的批判，但它无法完全维持下去。
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Pub Date : 2020-12-01DOI: 10.1215/00166928-8847214
D. Mitchell
Les Amours would lead to more profitable long-term patronage. This approach to craftsmanship is reflected both thematically in his poetry and economically in his publishing practices. Kennedy reveals how Ronsard recycled poems between one collection of poetry dedicated to Cassandra Salviati and a later one dedicated to Marie de Bourgueil, making his complaints against the beloveds interchangeable. Ronsard also cleverly profited twice from the set of poems commissioned by French king Henri III for his recently deceased lover Marie de Clèves, when he repurposed and published them in a new collection, Sur la Mort de Marie, dedicated to his beloved Marie de Bourgueil. Part 3 analyzes Shakespeare’s sonnets within the framework of the Petrarchan homo economicus and a “dynamics of maturation” that characterized the poetry of Sidney and Spenser. Kennedy theorizes that, based on the opaque quality of the Young Man poems, Shakespeare continued to revise them after he composed the Dark Lady poems, and right up to the quarto’s publication in 1609. Indeed, it is in the Young Man cycle, where the figures of the homo economicus and homo literarum come together, where we see more explicit references to economics, enterprise, and work alongside the poetic expression of love, desire, and male friendship/homosociality. Kennedy closes the book by returning to the “shape-shifting” figure of Mercury as a model for the poets—and their respective contextual economies—examined throughout the book. He ultimately shows how Petrarch’s legacy was as economic as it was poetic, that the act of poetic revision and emendation should be understood within both theoretical frames of Platonic furor and Aristotelian craftsmanship. Kennedy’s command of the source materials and close readings of poetic variants are exceptional. With Petrarchism at Work he has written another authoritative and original study of Petrarch’s legacy that will greatly impact the field.
Les Amours会带来更有利可图的长期赞助。这种工艺方法既反映在他的诗歌主题上，也反映在他的出版实践中。肯尼迪揭示了朗萨尔是如何在一本献给卡桑德拉·萨尔维亚蒂的诗集和一本献给玛丽·德·布尔盖尔的诗集之间循环使用诗歌的，这使得他对爱人的抱怨可以互换。朗萨尔还两次巧妙地从法国国王亨利三世为他最近去世的情人玛丽·德·克洛夫斯所委托的一套诗歌中获利，当时他重新利用并出版了一本新的诗集《Sur la Mort de Marie》，献给他心爱的玛丽·德·布尔盖尔。第三部分在彼特拉克的“经济人”和西德尼和斯宾塞诗歌的“成熟的动力”的框架下分析莎士比亚十四行诗。肯尼迪的理论是，基于《年轻人》诗歌晦涩难懂的特点，莎士比亚在创作《黑暗女士》诗歌后继续修改它们，直到1609年四开本出版。事实上，正是在《青年》的循环中，经济人和文学人的形象结合在一起，我们看到了更多对经济、企业和工作的明确引用，以及对爱情、欲望和男性友谊/同性恋社会的诗意表达。肯尼迪以“变形”的墨丘利作为诗人和他们各自的背景经济的典范来结束这本书。他最终展示了彼特拉克的遗产是如何既具有经济意义，又具有诗歌意义，诗歌的修改和修订行为应该在柏拉图式的狂热和亚里士多德式的工艺的理论框架中被理解。肯尼迪对原始材料的掌握和对诗歌变体的仔细阅读是非常出色的。在《彼特拉克主义的工作》一书中，他对彼特拉克的遗产进行了又一次权威和原创的研究，这将极大地影响该领域。
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