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Spatial Transitions in Post-Dictatorship Latin America
During the age of dictatorships, Latin American prisons became a symbol for the vanquishing of political opponents, many of whom were never seen again. In the post-dictatorship era of the 1990s, a number of these prisons were repurposed into shopping malls, museums, and memorials. Susana Draper uses the phenomenon of the “opening” of prisons and detention centers to begin a dialog on conceptualizations of democracy and freedom in post-dictatorship Latin America. Focusing on the Southern Cone nations of Uruguay, Chile, and Argentina, Draper examines key works in architecture, film, and literature to peel away the veiled continuity of dictatorial power structures in ensuing consumer cultures. The afterlife of prisons became an important tool in the “forgetting” of past politics, while also serving as a reminder to citizens of the liberties they now enjoyed. In Draper’s analysis, these symbols led the populace to believe they had attained freedom, although they had only witnessed the veneer of democracy—in the ability to vote and consume. In selected literary works by Roberto Bolaño, Eleuterio Fernández Huidoboro, and Diamela Eltit and films by Alejandro Agresti and Marco Bechis, Draper finds further evidence of the emptiness and melancholy of underachieved goals in the afterlife of dictatorships. The social changes that did not occur, the inability to effectively mourn the losses of a now-hidden past, the homogenizing effects of market economies, and a yearning for the promises of true freedom are thematic currents underlying much of these texts. Draper’s study of the manipulation of culture and consumerism under the guise of democracy will have powerful implications not only for Latin Americanists but also for those studying neoliberal transformations globally.
Exile, Migration, and Diaspora Reconsidered
Aftermaths is a collection of essays offering compelling new ideas on exile, migration, and diaspora that have emerged in the global age. In seeking fresh perspectives on the movement of people and ideas, the essays included here look to the power of the aesthetic experience, especially in literature and film, to unsettle existing theoretical paradigms and enable the rethinking of conventionalized approaches.
Regional Identity and Cheshire Writing, 1195-1656
Against All England examines a diverse set of poems, plays, and chronicles produced in Cheshire and its vicinity from the 1190s to the 1650s that collectively argue for the localization of British literary history. These works, including very early monastic writing emanating from St. Werburgh’s Abbey, the Chester Whitsun plays, Sir Gawain and the Green Knight, seventeenth-century ceremonials, and various Stanley romances, share in the creation and revision of England’s cultural tradition, demonstrating a vested interest in the intersection of landscape, language, and politics. Barrett’s book grounds itself in Cestrian evidence in order to offer scholars a new, dynamic model of cultural topography, one that acknowledges the complex interlacing of regional and national identities within the longue durée extending from the post-Conquest period to the Restoration. Covering nearly five centuries of literary production within a single geographical location, the book challenges still dominant chronologies of literary history that emphasize cultural rupture and view the “Renaissance” as a sharp break from England’s medieval past.
Albert Memmi and the Production of Theory
The work of Tunisian Jewish intellectual Albert Memmi, like that of many francophone Maghrebian writers, is often read as thinly veiled autobiography. Questioning the prevailing body of criticism, which continues this interpretation of most fiction produced by francophone North African writers, Lia Nicole Brozgal shows how such interpretations of Memmi’s texts obscure their not inconsiderable theoretical possibilities.
Calling attention to the ambiguous status of autobiographical discursive and textual elements in Memmi’s work, Brozgal shifts the focus from the author to theoretical questions. Against Autobiography places Memmi’s writing and thought in dialogue with several major critical shifts in the late twentieth-century literary and cultural landscape. These shifts include the crisis of the authorial subject; the interrogation of the form of the novel; the resistance to the hegemony of vision; and the critique of colonialism. Showing how Memmi’s novels and essays produce theories that resonate both within and beyond their original contexts, Brozgal argues for allowing works of francophone Maghrebi literature to be read as complex literary objects, that is, not simply as ethnographic curios but as generating elements of literary theory on their own terms.
Literary Experience in the Era of Emancipations
This book argues that we can no longer envision a political system that might practically displace democracy or, more accurately, global democratic state capitalism. Democracy has become fundamental: It extends deeper and deeper into everyday life; it grounds and limits our political thought and values. That is the sense in which we do indeed live at history's end. But this end is not a happy one, because the system that we now have does not satisfy tests that we can legitimately put to it. In this situation, it is important to come to new terms with the fact that literature, at least until about 1945, was predominantly hostile to political democracy. Literature's deep-seated conservative, counterdemocratic tendencies, along with its capacity to make important distinctions among political, cultural, and experiential democracies and its capacity to uncover hidden, nonpolitical democracies in everyday life, is now a resource not just for cultural conservatives but for all those who take a critical attitude toward the current political, cultural, and economic structures. Literature, and certain novelists in particular, helps us not so much to imagine social possibilities beyond democracy as to understand how life might be lived both in and outside democratic state capitalism. Drawing on political theory, intellectual history, and the techniques of close reading, Against Democracy offers new accounts of the ethos of refusing democracy, of literary criticism's contribution to that ethos, and of the history of conservatism, as well as innovative interpretations of a range of writers, including Tocqueville, Disraeli, George Eliot, E. M. Forster, and Saul Bellow.
Antebellum American Writers and the Movement to Abolish Capital Punishment
In Against the Gallows, Paul Christian Jones explores the intriguing cooperation of America’s writers—including major figures such as Walt Whitman, John Greenleaf Whittier, E. D. E. N. Southworth, and Herman Melville—with reformers, politicians, clergymen, and periodical editors who attempted to end the practice of capital punishment in the United States during the 1840s and 1850s. In an age of passionate reform efforts, the antigallows movement enjoyed broad popularity, waging its campaign in legislatures, pulpits, newspapers, and literary journals.
Postwar Poetry and the American Scene
W. H. Auden's emigration from England to the United States in 1939 marked more than a turning point in his own life and work--it changed the course of American poetry itself. The Age of Auden takes, for the first time, the full measure of Auden's influence on American poetry. Combining a broad survey of Auden's midcentury U.S. cultural presence with an account of his dramatic impact on a wide range of younger American poets--from Allen Ginsberg to Sylvia Plath--the book offers a new history of postwar American poetry.
For Auden, facing private crisis and global catastrophe, moving to the United States became, in the famous words of his first American poem, a new "way of happening." But his redefinition of his work had a significance that was felt far beyond the pages of his own books. Aidan Wasley shows how Auden's signal role in the work and lives of an entire younger generation of American poets challenges conventional literary histories that place Auden outside the American poetic tradition. In making his case, Wasley pays special attention to three of Auden's most distinguished American inheritors, presenting major new readings of James Merrill, John Ashbery, and Adrienne Rich. The result is a persuasive and compelling demonstration of a novel claim: In order to understand modern American poetry, we need to understand Auden's central place within it.
Literature and Culture in Britain, 1815-1885
“The burden of the past” invoked by any discussion of eclecticism is a familiar aspect of modernity, particularly in the history of literature. The Age of Eclecticism: Literature and Culture in Britain, 1815–1885 by Christine Bolus-Reichert aims to reframe that dynamic and to place it in a much broader context by examining the rise of a manifold eclecticism in the nineteenth century. Bolus-Reichert focuses on two broad understandings of eclecticism in the period—one understood as an unreflective embrace of either conflicting beliefs or divergent historical styles, the other a mode of critical engagement that ultimately could lead to a rethinking of the contrast between creation and criticism and of the very idea of the original. She also contributes to the emerging field of transnational Victorian studies and, in doing so, finds a way to talk about a broader, post-Romantic nineteenth-century culture. By reviving eclecticism as a critical term, Bolus-Reichert historicizes the theoretical language available to us for describing how Victorian culture functioned—in order to make the terrain of Victorian scholarship international and comparative and create a place for the Victorians in the genealogy of postmodernism. The Age of Eclecticism gives Victorianists—and other students of nineteenth-century literature and culture—a new perspective on familiar debates that intersect in crucial ways with issues still relevant to literature in an age of multiculturalism and postmodernism.