1. Referencing Proust in Annie Guéhenno’s L’épreuve
  2. Kathy Comfort
  3. pp. 1-17
  4. DOI: 10.1353/mos.2016.0007
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  1. From Experiment to Epidemic: Embodiment in the Decadent Modernism of Arthur Machen’s “The Great God Pan” and “The Inmost Light”
  2. Gabriel Lovatt
  3. pp. 19-35
  4. DOI: 10.1353/mos.2016.0010
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  1. Vectors of a Flea: The Convergence of Species in Victorian Animal Autobiographies
  2. Justin Prystash
  3. pp. 37-53
  4. DOI: 10.1353/mos.2016.0001
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  1. Limbo, Pluto, Soprano: Negative Capability in Three Underworlds
  2. Wayne Glausser
  3. pp. 55-71
  4. DOI: 10.1353/mos.2016.0003
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  1. Redrawing History: Visual Postmemory in Tardi’s 120, rue de la Gare
  2. Jennifer Anderson Bliss
  3. pp. 73-92
  4. DOI: 10.1353/mos.2016.0004
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  1. The Detective as “Zombie of the Interrogative Mood” in Cameron McCabe’s The Face on the Cutting-Room Floor
  2. Romén Reyes-Peschl
  3. pp. 93-109
  4. DOI: 10.1353/mos.2016.0005
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  1. “Set my lands in order”: States of Exception, the Cinematic, and The Waste Land
  2. Sean Dempsey
  3. pp. 111-127
  4. DOI: 10.1353/mos.2016.0006
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  1. Gift-giving and Domesticating the Upper-class Pooch in Flush
  2. Payal Taneja
  3. pp. 129-144
  4. DOI: 10.1353/mos.2016.0009
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  1. Time and Timelessness: A Study of Narrative Structure in Murakami Haruki’s Kafka on the Shore
  2. Virginia Yeung
  3. pp. 145-160
  4. DOI: 10.1353/mos.2016.0000
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  1. Jazzing the Novel: The Derridean Ethics of Michael Ondaatje’s Coming through Slaughter
  2. Natalie Diebschlag
  3. pp. 161-178
  4. DOI: 10.1353/mos.2016.0002
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  1. Introduction
  2. Dawne McCance
  3. pp. v-vi
  4. DOI: 10.1353/mos.2016.0008
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