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Abstract: Photo courtesy of Philip SchedlerIvan Vladislavić’s literary output has proven hard to pin down. The Exploded View (2004), for instance, described on Vladislavić’s author website as a “quartet of four interlinked fictions,” was excluded from consideration for a Sunday Times Literary Award because it was judged not to conform to the conventions of the novel. Commentators have similarly struggled to categorize Portrait with Keys (2006): Is it a work of fiction, a fictionalized memoir, or a piece of travel writing' Portrait’s narrator is one Vlad―a Pretoria-born writer living in Johannesburg; his brother Branko, according to real-life Vladislavić, is a composite figure and repository of the less appealing aspects of ... Read More PubDate: 2022-06-06T00:00:00-05:00
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Abstract: “Even after we are all in the car and riding down the road with Leonie bent over sick in the front seat, that black gun is there. . . . Everything is hot and wet in the car.”As fossil fuels have become increasingly necessary for life in the Anthropocene, their pervasiveness has led to changes in social experience and artistic representation, foregrounding mobility, acceleration, and the entanglement of the spectacular with the horrific. Petro-critic Imre Szeman asserts that “access to petrocarbon structures contemporary social life on a global scale” (138), making all culture essentially petro-culture. The transition into this petro-culture began in the mid-nineteenth century with the rise of oil in the United ... Read More PubDate: 2022-06-06T00:00:00-05:00
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Abstract: Biofiction is literature that names its protagonist after an actual historical figure. While writers have been authoring biographical novels for more than two hundred years, it was only in the late 1980s that it became a dominant literary form, resulting in stellar publications from luminaries such as Gabriel García Márquez, J. M. Coetzee, Margaret Atwood, Charles Johnson, Joyce Carol Oates, Mario Vargas Llosa, Peter Carey, Olga Tokarczuk, and Hilary Mantel, to mention a notable few. 1 Yet many have been extremely critical of the aesthetic form. For instance, in The Historical Novel Georg Lukács condemns the biographical novel as an irredeemable aesthetic form because it necessarily distorts and misrepresents ... Read More PubDate: 2022-06-06T00:00:00-05:00
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Abstract: Jack Spicer famously blamed his vocabulary for his demise, but as Robin Blaser’s recollection of his final words shows, it is perhaps mouths that gave him more trouble while he lived. On his deathbed, drifting in and out of his alcoholic coma, Spicer’s “speech was a garble,” coming out as “nonsense sounds” as he “struggled to tie his speech to words” and finally “wrenched his body” to produce his last lines (Blaser, The Fire 162). After this, Spicer “tried again, frowned, and failed to put his head and his words together again.” Or, as Blaser puts it in his Astonishment Tapes, “The head and the tongue had separated and you got nothing but a garble” (64). This last moment of heroically trying to marshal his ... Read More PubDate: 2022-06-06T00:00:00-05:00
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Abstract: The controlling metaphors in Monica Popescu’s At Pen-point: African Literatures, Postcolonial Studies, and the Cold War come right out of the Cold War imaginary. Popescu aims to reveal the “watermark” left by the Iron Curtain on the field of African literatures (2, 11, 26) and compares taking a Cold War view of postcolonial literary studies to applying heat or a chemical treatment to invisible ink (27, 94). These images evoke tradecraft: secret codes and hidden messages, evidence of authenticity against a background of suspicion and uncertainty. But they are also liquid metaphors and, in this sense, they aptly illuminate Popescu’s approach to her subject. In At Penpoint, the rigid binary oppositions of the Cold War ... Read More PubDate: 2022-06-06T00:00:00-05:00
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Abstract: In a note on “The Book of the Dead,” Muriel Rukeyser makes a claim that continues to guide contemporary documentary poets: “Poetry can extend the document.”1 But what does it mean for a poem to extend a document' The recent surge in critical work on documentary poetics elucidates the relationship between research-based poems and their documents. Joseph Harrington has argued that the relationship between poems and documents works differently for documentary and conceptual poets: “documentary poetry makes use of sources rather than simply reproducing them: it combines, paraphrases, and contextualizes them.”2 Harrington’s language suggests that conceptual poets are not doing much to “extend” their documents: Kenneth ... Read More PubDate: 2022-06-06T00:00:00-05:00
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