Project MUSE®: MFS Modern Fiction Studies - Latest Articles
https://muse.jhu.edu/journal/125
Project MUSE®: Latest articles in MFS Modern Fiction Studies.daily12026-05-15T00:00:00-05:00text/htmlen-USVol. 31, no. 1 (1985) through current issueLatest Articles: MFS Modern Fiction StudiesTWOProject MUSE®MFS Modern Fiction Studies1080-658X0026-7724Latest articles in MFS Modern Fiction Studies. Feed provided by Project MUSE®Gothic Abjection, Intertextuality, and Disloyalty in Elizabeth Bowen's "The Demon Lover"
https://muse.jhu.edu/article/985826
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Elizabeth Bowen's fictions and persona have long evaded simple categorization, with critics increasingly drawn to the expansive term "queer" to describe her work.1 The portrayal of courtship and marriage in relation to total war in "The Demon Lover" exemplifies Bowen's queerness, her ability to address the Other already existing within the commonplace.2 Through its allusions to Francis James Child's ballad "The Daemon Lover," the 1916 documentary The Battle of the Somme, and Irish patriot Roger Casement's execution, the story creates an intertextual web linking and challenging conventional matrimony, spectatorship, and loyalty. The narrative reenacts how discourses of courtship, visuality, and patriotism become
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallGothic Abjection, Intertextuality, and Disloyalty in Elizabeth Bowen's "The Demon Lover"2026-03-24text/htmlen-USGothic Abjection, Intertextuality, and Disloyalty in Elizabeth Bowen's "The Demon Lover"2026-03-242026TWOProject MUSE®861292026-05-15T00:00:00-05:002026-03-24Cather and Catastrophe: Time and Environmental Realism in the Improbable West
https://muse.jhu.edu/article/985827
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Along with her lifelong interest in literary schools, Willa Cather's experience in and research about the long histories of the West and Southwest of the North American continent shaped her particular practice of literary realism. What is true about Cather's career is also arguably true about American literary realism generally: it is closely identified with the West, as Susan J. Rosowski and Nicolas S. Witschi have argued. William Dean Howells championed Mark Twain, Bret Harte, Hamlin Garland, Stephen Crane, and Frank Norris as part of his goal of "westernizing" (Rosowski 96) the Atlantic Monthly. Yet one finds elements of romanticism and naturalism throughout Cather's work also, which makes categorizing her as a
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallCather and Catastrophe: Time and Environmental Realism in the Improbable West2026-03-24text/htmlen-USCather and Catastrophe: Time and Environmental Realism in the Improbable West2026-03-242026TWOProject MUSE®815852026-05-15T00:00:00-05:002026-03-24Contemplating "Queerness" in Anglo-American Nineteenth- and Twentieth-Century Children's Books: The Case of Frances Hodgson Burnett's The Secret Garden
https://muse.jhu.edu/article/985828
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An advertisement for The Secret Garden in The American Magazine struggled to characterize Frances Hodgson Burnett's 1911 novel: "It is difficult to describe this wonderful story" ("A Big New Serial" 156), for "it narrates the reformation and upbuilding of a life," and tells a story of "youth idealized as we would like to have it." The ad copy does not elaborate on what it would mean to depict youth "as we would like to have it," but I will argue here that Burnett's idealizing of queerness is that which is both "difficult to describe" and "wonderful." Burnett's repeated use of the word "queer" in the novel suggests that a queer child is a singular character, one who is uniquely capable and particularly chosen for
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallContemplating "Queerness" in Anglo-American Nineteenth- and Twentieth-Century Children's Books: The Case of Frances Hodgson Burnett's The Secret Garden2026-03-24text/htmlen-USContemplating "Queerness" in Anglo-American Nineteenth- and Twentieth-Century Children's Books: The Case of Frances Hodgson Burnett's The Secret Garden2026-03-242026TWOProject MUSE®889872026-05-15T00:00:00-05:002026-03-24Narrative Scarring in The Underground Railroad
https://muse.jhu.edu/article/985829
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"Here's one delusion: that we can escape slavery. We can't. Its scars will never fade."From the opening sentences of Colson Whitehead's Pulitzer-prize winning The Underground Railroad, epistemologies of chronology and embodiment are upended as the dead speak across time: "The first time Caesar approached Cora about running north, she said no. This was her grandmother talking" (1). Notably, Cora's grandmother, Ajarry—an enslaved woman kidnapped from West Africa and taken to a plantation in Georgia—died before Cora was born, yet Ajarry still speaks to and through her granddaughter, warning her away from the tantalizing specter of mobility. Ajarry's warning makes sense as we learn she had "made a science of her own
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallNarrative Scarring in The Underground Railroad2026-03-24text/htmlen-USNarrative Scarring in The Underground Railroad2026-03-242026TWOProject MUSE®852162026-05-15T00:00:00-05:002026-03-24Philip Roth's Jewish Debility
https://muse.jhu.edu/article/985830
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"Doctor Spielvogel, this is my life, my only life, and I'm living it in the middle of a Jewish joke! I am the son in the Jewish joke—only it ain't no joke! Please, who crippled us like this? Who made us so morbid and hysterical and weak? Why, why are they screaming still, 'Watch out! Don't do it! Alex—no!' and why, alone on my bed in New York, why am I still hopelessly beating my meat? Doctor, what do you call this sickness I have? Is this the Jewish suffering I used to hear so much about? Is this what has come down to me from the pogroms and the persecution? from the mockery and abuse bestowed by the goyim over these two thousand lovely years? Oh my secrets, my shame, my palpitations, my flushes, my sweats! The
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallPhilip Roth's Jewish Debility2026-03-24text/htmlen-USPhilip Roth's Jewish Debility2026-03-242026TWOProject MUSE®1081562026-05-15T00:00:00-05:002026-03-24Technologies of Uplift: Race and Beauty in Edith Wharton's Twilight Sleep
https://muse.jhu.edu/article/985831
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Over the past three decades, critics have focused scholarly attention on discourses of race in Edith Wharton's work. Elizabeth Ammons provocatively asserted in the mid-1990s that white critics "have been happy to support [the] fiction" (83) perpetuated by Wharton herself "that race was not one of her subjects," even as her racialized texts and her own white privilege suggest otherwise. Jennie A. Kassanoff, noting that race "transcends issues of skin" (41), worries that some of the early critical work on Wharton and race may have placed undue emphasis on the "phenotypic logic" (40) of race, reducing it "to a Manichean question of color" (41), when it is better understood within the shifting historical meanings of
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallTechnologies of Uplift: Race and Beauty in Edith Wharton's Twilight Sleep2026-03-24text/htmlen-USTechnologies of Uplift: Race and Beauty in Edith Wharton's Twilight Sleep2026-03-242026TWOProject MUSE®1166042026-05-15T00:00:00-05:002026-03-24"Letting Oneself Matter": The Dangers of Skepticism in J. M. Coetzee's Waiting for the Barbarians
https://muse.jhu.edu/article/985832
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J. M. Coetzee's fiction is known for its representations of liberal humanist subjectivity and for its "wokeness" among writers and intellectuals confronting their complicity with structural violence. Such figures include Susan Barton in Foe, David Lurie in Disgrace, Mrs. Curren in Age of Iron, and the nameless magistrate in Waiting for the Barbarians, all of whom are preoccupied with the incommensurability of narrative and trauma. They express a collective skepticism about the role of language in representing alterity or facilitating repair, believing that "whatever can be articulated is falsely put" (64), as the narrator of Waiting for the Barbarians says. Coetzee's humanists are certainly in good company: the
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmall"Letting Oneself Matter": The Dangers of Skepticism in J. M. Coetzee's Waiting for the Barbarians2026-03-24text/htmlen-US"Letting Oneself Matter": The Dangers of Skepticism in J. M. Coetzee's Waiting for the Barbarians2026-03-242026TWOProject MUSE®875432026-05-15T00:00:00-05:002026-03-24How Day Novels Work: Temporal Economy in A Day Off and Party Going
https://muse.jhu.edu/article/985833
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The novel relating the microevents of a single day enjoyed increasing prominence as a modernist genre in the 1920s following the publication of Ulysses in 1922, only for this emergent form to collide with economic collapse in the next decade. The day novels of the 1930s registered and responded to the historical conditions of a global crisis by oscillating between a compensatory fantasy of free time and a critical depiction of the ironic role that leisure played within social reproduction under capitalism. Two novels by writers from radically different orientations—A Day Off by Storm Jameson, a committed socialist, and Party Going by Henry Green, an ambivalent aristocrat—play on the contradictions of work and
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallHow Day Novels Work: Temporal Economy in A Day Off and Party Going2026-03-24text/htmlen-USHow Day Novels Work: Temporal Economy in A Day Off and Party Going2026-03-242026TWOProject MUSE®620152026-05-15T00:00:00-05:002026-03-24Crafting Feminism: From Literary Modernism to the Multimedia Present by Amy E. Elkins (review)
https://muse.jhu.edu/article/985835
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Elkins begins her text with a discussion of the intersections between craft and feminist writing, whose relationship is at the heart of Crafting Feminism. Here her words are deployed in the creation of beautiful threads, deftly brought together in an argument whose writing mirrors the complex textures of her chosen subjects. Throughout the book, Elkin's prose is precise, considered, and compelling, a piece of delicately crafted art in its own right. The anecdotes told in the short "Techne" chapters (and occasionally throughout the main chapters), for example, are characterized by luminous descriptive passages, transporting the reader to the author's location and guiding them along the routes of her own thought
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallCrafting Feminism: From Literary Modernism to the Multimedia Present by Amy E. Elkins (review)2026-03-24text/htmlen-USCrafting Feminism: From Literary Modernism to the Multimedia Present by Amy E. Elkins (review)2026-03-242026TWOProject MUSE®90402026-05-15T00:00:00-05:002026-03-24Big Fiction: How Conglomeration Changed the Publishing Industry and American Literature by Dan Sinykin (review)
https://muse.jhu.edu/article/985836
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Having established himself in American Literature and the Long Downturn (2020) as an insightful critic of American fiction's boom-to-bust trajectory of the second half of the twentieth century, Dan Sinykin now more pointedly attends to the corporatization of publishing across the same era. Big Fiction aims to do two things. First, in the historiographic mode, Sinykin dramatizes the changing landscape of American publishing from a number of small, independent, often family-run houses to massive corporate entities that gobbled up these smaller presses or were themselves swallowed by multinational conglomerates and made subsidiaries in varied and distinctly non-literary portfolios. Second, in the more
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallBig Fiction: How Conglomeration Changed the Publishing Industry and American Literature by Dan Sinykin (review)2026-03-24text/htmlen-USBig Fiction: How Conglomeration Changed the Publishing Industry and American Literature by Dan Sinykin (review)2026-03-242026TWOProject MUSE®103732026-05-15T00:00:00-05:002026-03-24Odd Affinities: Virginia Woolf's Shadow Genealogies by Elizabeth Abel (review)
https://muse.jhu.edu/article/985837
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The afterword to Elizabeth Abel's provocative new book, Odd Affinities, opens with a quotation from Wai Chee Dimock: "The traveling frequencies of literary texts [are] received and amplified across time, moving farther and farther from their points of origin, causing unexpected vibrations in unexpected places" (qtd. in 223). Abel is right to assume that Virginia Woolf's affinity with Nella Larsen, James Baldwin, Roland Barthes, and W. G. Sebald makes for "unexpected vibrations in unexpected places." Hers is absolutely a surprising set and an interesting way to explore the idea of resonance. Few articles have had more influence than Dimock's 1997 "A Theory of Resonance." Building on Stephen Greenblatt, and borrowing
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallOdd Affinities: Virginia Woolf's Shadow Genealogies by Elizabeth Abel (review)2026-03-24text/htmlen-USOdd Affinities: Virginia Woolf's Shadow Genealogies by Elizabeth Abel (review)2026-03-242026TWOProject MUSE®93912026-05-15T00:00:00-05:002026-03-24Edible Arrangements: Modernism's Queer Forms by Elizabeth Blake (review)
https://muse.jhu.edu/article/985838
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One of the key concerns of modernist food studies is how literary representations of food and food practices cross boundaries and structure new intimacies, using experimental techniques to, for instance, redefine the aesthetic or resituate the perceiving subject within the material world. This is precisely the goal of Elizabeth Blake's Edible Arrangements, and she approaches it thematically and culturally as well as formally and aesthetically. In terms of the former, Blake examines literary scenes of eating that depict queer forms of pleasure—"queer" because they are aslant of normative bodily pleasures in object, act, and/or intensity, including but not limited to the narrowly sexual. She takes queer pleasure as
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallEdible Arrangements: Modernism's Queer Forms by Elizabeth Blake (review)2026-03-24text/htmlen-USEdible Arrangements: Modernism's Queer Forms by Elizabeth Blake (review)2026-03-242026TWOProject MUSE®99862026-05-15T00:00:00-05:002026-03-24Inventing Benjy: William Faulkner's Most Splendid Creative Leap by Frédérique Spill (review)
https://muse.jhu.edu/article/985839
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Inventing Benjy is a curious book. For one thing, it is full of idiots: not only in the array of characters with intellectual and/or developmental disabilities throughout William Faulkner's work, such as in the short stories "Monk" and "The Kingdom of God" as well as in As I Lay Dying, Absalom, Absalom!, and (especially) Ike Snopes in The Hamlet, but also in the critical terminology that speaks of the "idiot idiom," the "idiot gaze," and "the aesthetics of idiocy." (There are also many detours to John Steinbeck, Joseph Conrad, Henry James, and Virginia Woolf, among others.) Frédérique Spill's readers will learn that in order to write The Sound and the Fury, Faulkner "chose to be an idiot" (172), and that the
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallInventing Benjy: William Faulkner's Most Splendid Creative Leap by Frédérique Spill (review)2026-03-24text/htmlen-USInventing Benjy: William Faulkner's Most Splendid Creative Leap by Frédérique Spill (review)2026-03-242026TWOProject MUSE®99182026-05-15T00:00:00-05:002026-03-24On Both Sides of the Tracks: Social Mobility in Contemporary French Literature by Morgane Cadieu (review)
https://muse.jhu.edu/article/985840
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In On Both Sides of the Tracks, Morgane Cadieu directs her attention to narratives of social mobility in France, a thriving literary trend in fiction and nonfiction that, while well known to critics, continues to be undertheorized. While studies of precarity and inequity form the bedrock of much literary criticism today, the author and Yale professor specifically considers class mobility—movement through social classes and up and down the proverbial ladder—as a literary and formal problem. Beginning with the classic parvenant ("the social upstart"), she zeros in on ambiguous models for social ascension, such as transfuges ("transclass individuals") who often "pass for" various class identities (similarly to racial
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallOn Both Sides of the Tracks: Social Mobility in Contemporary French Literature by Morgane Cadieu (review)2026-03-24text/htmlen-USOn Both Sides of the Tracks: Social Mobility in Contemporary French Literature by Morgane Cadieu (review)2026-03-242026TWOProject MUSE®135942026-05-15T00:00:00-05:002026-03-24Losing the Plot: Film and Feeling in the Modern Novel by Pardis Dabashi (review)
https://muse.jhu.edu/article/985841
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In Pardis Dabashi's arresting study, the concept of plot—though inherent and indispensable to novels—became unpresentable for writers in the 1930s, as seen in Emily Coleman's hesitation to share her plotted novel with her close friend and fellow writer, Djuna Barnes. Coleman's sheepishness indicates the contextual pressure on literary writing insofar as "the negative force of modernist aesthetics was thought to be bound up in its abandonment of plot as plot was mobilized in the nineteenth-century novel" (2). For modernists, a coherent plot is not only a byword for conventional literary form contingent on continuity in time and space, but an aesthetic proxy for "social control and ideologically pernicious
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallLosing the Plot: Film and Feeling in the Modern Novel by Pardis Dabashi (review)2026-03-24text/htmlen-USLosing the Plot: Film and Feeling in the Modern Novel by Pardis Dabashi (review)2026-03-242026TWOProject MUSE®101602026-05-15T00:00:00-05:002026-03-24The Irish and the Imagination of Race: White Supremacy across the Atlantic in the Nineteenth Century by Patrick R. O'Malley (review)
https://muse.jhu.edu/article/985842
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Patrick R. O'Malley's The Irish and the Imagination of Race: White Supremacy across the Atlantic in the Nineteenth Century offers a compelling reevaluation of how discourse surrounding Irishness informed constructions of race in Britain, Ireland, and the United States in the years leading up to the American Civil War. O'Malley takes as his focus the process by which literary genres foundational to Irish nationalism became agents of white supremacy when transferred to American contexts; when literary forms shift locales, they often also shift from being imbricated in liberationist agendas to undergirding white nationalist discourse that advances white (Irish) Americans at the expense of African Americans. Tracing
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallThe Irish and the Imagination of Race: White Supremacy across the Atlantic in the Nineteenth Century by Patrick R. O'Malley (review)2026-03-24text/htmlen-USThe Irish and the Imagination of Race: White Supremacy across the Atlantic in the Nineteenth Century by Patrick R. O'Malley (review)2026-03-242026TWOProject MUSE®120842026-05-15T00:00:00-05:002026-03-24Queer Forms by Ramzi Fawaz (review)
https://muse.jhu.edu/article/985843
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Ramzi Fawaz's Queer Forms is a sweeping critical tome that offers stunningly original readings of a wide range of popular forms. This is Fawaz's second monograph, and, as in his first, he commits himself to taking pop culture seriously as a form that can interpret political thought. Here, he reviews American popular culture from the 1970s–1990s through feminist and LGBTQ+ thinkers, providing nuanced close readings of both fiction and theory. Each of his six chapters meditates on a central theoretical concept, first showing how that idea developed its discursive force and then turning to close read select fictional texts while remaining attuned to how each text resonated in its cultural moment. As an example, in his
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallQueer Forms by Ramzi Fawaz (review)2026-03-24text/htmlen-USQueer Forms by Ramzi Fawaz (review)2026-03-242026TWOProject MUSE®110212026-05-15T00:00:00-05:002026-03-24Modernist Parody: Imitation, Origination, and Experimentation in Early Twentieth-Century Literature by Sarah Davison (review)
https://muse.jhu.edu/article/985844
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In Modernist Parody: Imitation, Origination, and Experimentation in Early Twentieth-Century Literature, Sarah Davison has written the definitive book on the multiple ways in which parody functioned in modernism. Parody's reach in modernism is large, she argues; it is "so fundamental to avant-garde modernist experimentation that it should be considered constitutive" (120). Davison looks at modernist parody's multiple functions: as an apprenticeship training ground in finding a style and voice; as an exploration of the registers of language; as a way of having one's text slip in and out of different voices; and as a way of finding one's relationship to one's predecessors. And, of course, parody is a source of
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallModernist Parody: Imitation, Origination, and Experimentation in Early Twentieth-Century Literature by Sarah Davison (review)2026-03-24text/htmlen-USModernist Parody: Imitation, Origination, and Experimentation in Early Twentieth-Century Literature by Sarah Davison (review)2026-03-242026TWOProject MUSE®116672026-05-15T00:00:00-05:002026-03-24Black Lives Under Nazism: Making History Visible in Literature and Art by Sarah Phillips Casteel (review)
https://muse.jhu.edu/article/985845
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Sarah Phillips Casteel's new book, Black Lives Under Nazism, opens with her self-positioning as an "outsider" (ix) in relation to the materials she scrutinizes. Casteel recounts that she is Jewish, non-Black, and of Eastern European descent—specifically Polish (although now her hometown is known as "Lviv, Ukraine"). Her Jewish family fled from Nazi Germany as the authoritarian clamp down of Hitler's regime took hold and spread to other European locations following the German army's advance until 1943. This personal positioning, so critical to feminist standpoint theory of the last few decades, leads to the core of Casteel's study in that the book locates the experiences of Black Jewish lives as intersectional and
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallBlack Lives Under Nazism: Making History Visible in Literature and Art by Sarah Phillips Casteel (review)2026-03-24text/htmlen-USBlack Lives Under Nazism: Making History Visible in Literature and Art by Sarah Phillips Casteel (review)2026-03-242026TWOProject MUSE®110812026-05-15T00:00:00-05:002026-03-24Model Minority Masochism: Performing the Cultural Politics of Asian American Masculinity by Takeo Rivera (review)
https://muse.jhu.edu/article/985846
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Takeo Rivera's Model Minority Masochism pulls no punches. The book skillfully performs interdisciplinarity, mixing personal storytelling, historical context, and nimble theoretical interventions into Asian American racialization and drawing thoughtful examples from a range of interwoven narratives, genres, forms, and media. The writing and thinking are accessible, rigorous, energetic, and at times visceral, contributing to and reconfiguring the interventions laid out by interlocutors such as Kandice Chuh, Wendy Chun, David L. Eng, Lisa Lowe, José Esteban Muñoz, and Lisa Nakamura, among many others. Model Minority Masochism offers new and alternative interventions into the questions, canons, and foundational stories
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/125/image/coversmallModel Minority Masochism: Performing the Cultural Politics of Asian American Masculinity by Takeo Rivera (review)2026-03-24text/htmlen-USModel Minority Masochism: Performing the Cultural Politics of Asian American Masculinity by Takeo Rivera (review)2026-03-242026TWOProject MUSE®104892026-05-15T00:00:00-05:002026-03-24