Alice Munro,Charles McGrath,and the Shaping of “The Turkey Season”

Using archival evidence of the editorial process behind the publication of the story “The Turkey Season,” this article explores the collaborative literary relationship between Alice Munro and one of her long-time editors at The New Yorker magazine, Charles McGrath. It reveals McGrath’s exceptional contribution to the story—restructuring it by combining the two versions Munro submitted into a composite—and theorizes the composite version’s effects on the epistemological grounding of the story and the narrator’s certainty about her own memory of the events she recounts, both of which are features that are often considered characteristic of Munro’s style in her mature writing.     

Written in Stone: subverting the authoritative (auto)biographical voice—Carol Shields’s The Stone Diaries and Margaret Laurence’s The Stone Angel

Diaries imply true confessions, and readers wish to believe Daisy Flett’s life story in Carol Shields’s Pulitzer Prize-winning novel The Stone Diaries (1994), but her layered narration, alternating first- and third-person narrative, proves problematic. “Death,” the final chapter, is particularly puzzling, as third-person accounts of Daisy’s demise are punctuated by her comments, such as, “I’m still in here” (320). But how does a first-person narrator relate her own death? The secret to Daisy’s death narrative, as David Williams observes, is the correspondence between Shields’s postmodernist gem, The Stone Diaries, and Laurence’s modernist masterpiece, The Stone Angel (1964), published three decades earlier, as Shields’s title clearly references Laurence’s. Two decades after Williams’s insightful essay, we can extend the parallels (and delineate the differences) between the two—and explore their implications. Such intertextual resonance illustrates Shields challenging the borders between fiction and biography and parodying canonical texts.     

Carlylean Sentiment and the Platonic Triad in Anne of Green Gables

Humor in Anne of Green Gables serves the novel’s realism, establishing the perspective of a child. The humanistic humor and overblown, imaginative realism in Montgomery’s work is both a burlesque on Romantic attitudes and a vehicle for her social outlook, an outlook which is decidedly conservative. Like Thomas Carlyle in Past and Present, Montgomery creates in Avonlea an idealized past that serves (in part) as a moral standard from which she can gauge modernity. Anne’s optimism, her “ambitions,” humanizes Marilla’s Calvinism, Marilla’s tendency toward emotional austerity. But from the mid-point of the novel onwards, the humor is made increasingly at Anne’s expense as Montgomery satirizes Romantic pretensions and steers her heroine away from the extremes of childhood into an adult sense of individual balance and duty.     

“As Though There Was No Boundary”: the Shipshaw Project and Continental Integration

This essay reads Munro’s 2001 story collection as embodiment of her artistic accomplishment. Beginning with a 1952 internal Canadian Broadcasting Corporation reader noting “evocative and luminous phrases” in two of Munro’s earliest stories, it argues that such phrases have informed Munro’s fiction throughout her career. In Hateship, these phrasings are key to “Family Furnishings,” “Hateship, Friendship, Courtship, Loveship, Marriage,” “Post and Beam,” “The Bear Came Over the Mountain,” and especially “Nettles.” There Munro structures her stories around “real facts in the making,” combining autobiographical facts and situations with her imaginative renderings of them. This collection reveals Munro at the height of her accomplished art.     

Andrea's Baggage: Reading (in) Laforet's Nada

One overlooked feature of Andrea's arrival in Barcelona at the beginning of Nada is the old and battered suitcase that she drags with her to her relatives’ apartment. It is filled almost entirely with books, books that—we may assume—she has read and plans to read again. Reading, it is clear, has played a large part in her intellectual and psychological formation as a teenager, but one of the strands of her overall maturation process during the forthcoming year will involve achieving a greater understanding of the distortions involved in how people (including her) see life through the optic of literature and literature through the optic of life. Gradually disabused of her overly literary adolescent imaginings, then, she eventually becomes a writer—of the text that is Nada—who is well aware of the traps that reading and writing hold.     

Society and politics in China today

China's social and economic transformations, and their growing global impact, have prompted a plethora of books. This review article examines five recent books in Polity's China today series as a basis for discussion about society and politics in China. The series is structured around applying different themes or concepts to China, and these five look at consumption, social welfare, class, ethnicity, and the nature, role and performance of the Communist Party and state. The books provide well‐researched and balanced accounts of developments in China, especially since the era of ‘reform and opening up’ began in 1978. The article argues that important themes of the books—the growing discourse of consumption, the depoliticization of class as socio‐economic strata, the Party‐state as a pragmatic provider of citizen services, and the role of the private sector in the provision of social welfare—are all features of the current phase of a globalized capitalist modernity, and concludes that while the country wants to be seen as different, the accounts of politics and society in this series suggests that China today offers more of an alternative within that modernity than an alternative to it.     

Cronies,economic crime and capitalism in Putin's sistema

The books included in this review article are essential for the understanding of what I call Putin's sistema—the governance model that originated in the Soviet system but has transformed and adapted to global change. Each book tackles, from a different angle, the issues of Russia's transition and suggests ways to describe its political consequences. The books all attempt to identify some underlying logic or organizing force in a Russian society that has emerged through weak institutions. Although I join the authors in their criticisms of the ‘transition paradigm’ and its ‘opening‐breakthrough‐consolidation of democracy’ formula, transformations of the Soviet sistema seem to resonate with the ‘opening‐breakthrough‐consolidation of capitalism’. Perestroika can be seen as an ‘opening’ in shaking the foundations of sistema; Yeltsin's era as a ‘breakthrough’; and Putin's regime as the ‘consolidation’ of capitalism but with its distinct characteristics.     

Demagoguery as Pathology: Interpreting European Politics Today

The End of Europe by James Kirchick and The Strange Death of Europe by Douglas Murray evince many of the very same political and discursive pathologies which they successfully diagnose in European politics. Both authors have discovered that Europe’s current situation is as much a result of irresponsible public policies and mismanaged crises as of a decay in European political thinking, a decay manifested in Europe’s ever-more simplistic, anti-deliberative—in a word, demagogic—public discourse. And yet, Europeans of today find themselves in a social, political, and economic crisis in part because they lack the discursive means to recognize and deliberate on the very crisis they are in. The result is a damaging political state of affairs which makes escape from itself nearly impossible—a political pathology. Kirchick and Murray do a fine job of capturing the true character of this discourse in their books, yet they do so by unwittingly reproducing it themselves, thereby revealing the difficulties inherent in reforming a political culture from within.     

Grief as method: topographies of grief,care, and fieldwork from Northwest Arkansas to New York and the Marshall Islands

Abstract

When we grieve during fieldwork, our grief forms new geographies of knowledge production and emotion. In this article, I use autoethnography to theorize my grief during fieldwork following the death of my sister. I examine grief’s methodological implications using the concept of ‘grief as method,’ an emotionally-inflected practice that accounts for the vulnerability produced by grief. By centering vulnerability, ‘grief as method’ also urges researchers to consider the practices and politics of ‘caring with’ our research subjects and caring for ourselves, raising larger questions about the role of care in research. Furthermore, this article demonstrates how grief’s geographical features—its mobility, its emergence in new sites and landscapes, and its manifestation as both proximity and distance—shape ‘grief as method’ profoundly. I examine grief’s spatial implications by building on Katz’s ‘topography’ to theorize a ‘topography of grief’ that stitches together the emotional geographies of researchers, blurring both spatial divisions (‘the field’ vs. ‘the not-field’) and methodological ones (the ‘researcher-self’ vs. the ‘personal-self’). If we see grief as having a topography, then the relationships between places darkened by grief come into focus. Moreover, by approaching grief methodologically, we can better understand how field encounters—relationships between people—are forged through grief. ‘Grief as method,’ in offering a spatial analysis of grief’s impact on fieldwork, envisions a broader definition of what engaged research looks like and where it takes place.     

The Collision,Interaction, and Integration of Heterogeneous Cultures in the Global Context: The Impact of The Monument on Huaju (Modern Chinese Drama)

This article reads Alice Munro’s “Material” as a staging of the failure of its narrator’s voice and understanding. Her failure exposes the limits of the mind to understand and language to represent, but it does so within a complex aesthetic structure that obliquely asserts the value of literature. This aesthetically realist story displays a deconstructive ethics that shows Munro working toward a literature free from phallogocentrism and pushing at the limits of logos itself. “Material” exposes the ethical risk and the power of writing, as well as the significance of that which lies beyond its ability to express.     

Practical Hagiography: James of Voragine’s Sermones and Vita on St Margaret of Antioch

Abstract

In addition to his exceedingly popular Legenda Aurea, James of Voragine wrote in another hagiographical genre: sermons on the saints. The Sermones de sanctis likewise became immediately popular, as his Dominican brothers used James’s model sermons to learn to preach about the saints in a format that would provide the laity with intelligible and practical theological instruction. James’s corpus gives us a rather unusual opportunity to compare the ways in which a single author manipulates multiple hagiographical genres, and his writings on St Margaret of Antioch allow us to explore how a medieval preacher used a historically disputed saint — a dragon-fighter — to provide a practical model of sanctity to his lay audience. I compare the representations of Margaret in James’s sermones and vita, arguing that James adapted certain features of Margaret’s saintly example in the vita to instruct the audience of his sermons about proper Christian virtues and actions. As a point of comparison, I explore a sermon by Évrard of Val des Écoliers in which the Augustinian teaches his audience a practical skill — how to pray — through Margaret’s example.     

Alice Munro’s Narrative Historicism: “Too Much Happiness”

Alice Munro’s “Too Much Happiness” relates the final years of its subject Sophia Kovalevsky (1850–1891), a nineteenth-century Russian mathematician, writer, and subsequent feminist icon. Munro’s narrative here does not always fit with her earlier fictional practice. By examining Munro’s earlier work, and glancing at a later sequence of narratives with regard to her uses of historical matters, this discussion outlines the generic implications of “Too Much Happiness” and their effect upon our estimation of the remainder of Munro’s fiction.     

Projections of China's normative soft power

Fuelled by unparalleled recent development, China has by necessity been reaching outward in search of foreign resources and international recognition. The three books reviewed in this essay all speak to China's spectacular global ascendency of the past two decades—and to the political consequences and international reactions that have followed. What unites these three volumes—Tongdong Bai's China: The Political Philosophy of the Middle Kingdom (2012), Peter Nolan's Is China Buying the World? (2012) and William Callahan and Elena Barabantseva's edited volume, China Orders the World: Normative Soft Power and Foreign Policy (2011)—is their focus on the uniquely Chinese norms that now underpin China's soft power in the twenty-first century. How will China go about ordering the world and will it succeed? The answers to these questions, as these authors demonstrate, may have less to do with China's present than with its ancient past.     

Anatomy of the Superman: Gabriele D’Annunzio’s Response to Nietzsche

This essay explores D’Annunzio’s reception of Nietzsche—particularly his sociopolitical theory and idea of the Übermensch—as dramatized in his novel Le Vergini delle rocce (The Maidens of the Rocks). D’Annunzio’s attitude towards Nietzsche was complicated and contradictory, varying from fascination and rivalry to rejection and negation: rather than a philosopher or master, he saw Nietzsche as a poet and soulmate. Like many writers and artists of fin-de-siècle Europe, D’Annunzio too was attracted by Nietzsche’s elitist social theory and Übermensch, of which he presents his own version especially in Maidens of the Rocks. In the novel, the young aristocrat Claudio Cantelmo aspires to overcome himself. However, the fact that Cantelmo fails to achieve his dream of fathering a New King of Rome, reveals D’Annunzio’s deep skepticism about contemporary Italy as well as his own “decadent” soul.     

On Not Reading The Soldier’s Pocket-book for Field Service

This essay focuses on Garnet Wolseley’s controversial war instruction manual, The Soldier’s Pocket-book for Field Service (1869). While the Pocket-book’s contribution to discussions of reading and soldiers’ education has carved out a significant place for it in Victorian military history, in its day it was constantly contested and undermined by contradictory representations, as a book much talked about but little read. This essay is an exercise in tracing these eccentric reception histories, as an acute reminder that books may well have vibrant intellectual lives without actually being read. To examine the literary and material circulation of the Pocket-book in the late nineteenth century, it draws on archival research in the Macmillan Archive and Wolseley’s private papers to discuss the genesis of the text not just as a compendium of information but also as an object that is handled, carried, and exchanged. I juxtapose these considerations with episodes in the representation of the Pocket-book: in an anti-war pamphlet; an anonymous satirical drawing found in Wolseley’s personal scrapbooks; and in Kipling’s short stories about British soldiers in colonial South Asia. In all of these, the Pocket-book is characterized as a dubious, even dangerous text – one that was neither read, nor should be. The examples demonstrate three of the different trajectories through which the Pocket-book emerged as an unread book in the Victorian imagination: through encouragements not to read, rejection, and misappropriation.     

From Domus to Polis: Hybrid Identities in Southey’s Letters from England (1807) and Blanco White’s Letters from Spain (1822)

ABSTRACT

Robert Southey’s fictive travelogue, Letters from England, by Don Manuel Alvarez Espriella (1807), inspired several imitators, most importantly José María Blanco White with his Letters from Spain (1822). These works rejuvenate a fictional device popularised by Montesquieu’s Persian Letters—the “familiar stranger”—at a crucial juncture when British involvement in the affairs of Europe provoked a reassessment of pre-Revolutionary cosmopolitanism. The stranger as home-interpreter calls attention to an emerging emphasis in European Romantic thought on the contingency of freedom with hybrid, mobile identities, prefiguring the psycho-social-historical terrain in which Jean-François Lyotard and Dean MacCannell link modernity with travel and tourism. This essay argues that the Romantic figure of the foreign traveller expresses a condition of travel, reflecting Lyotard’s critique of human contingency in his essay “Domus and the Megalopolis.” Southey’s sympathetic stranger modulates a conversation with Wordsworth about the nature of modern subjectivity, historically contingent yet paradoxically liberated from historical particulars. Blanco White’s Letters from Spain demonstrates how displacement, emigration, and expatriation become refigured as conditions of the modern psyche, especially visible in moments of political crisis, when the cosmopolitan polis is immobilised by the myth of the domus.     

Gombrich’s critique of Hauser’s Social History of Art

This article examines E.H. Gombrich’s critical appraisal of Arnold Hauser’s book, The Social History of Art. Hauser’s Social History of Art was published in 1951, a year after Gombrich’s bestseller, The Story of Art. Although written in Britain for an English-speaking public, both books had their origins in the intellectual history of Central Europe: Gombrich was an Austrian art historian and Hauser was Hungarian. Gombrich’s critique, published in The Art Bulletin in 1953, attacked Hauser’s dialectical materialism and his sociological interpretation of art history. Borrowing arguments from Karl Popper’s critique of historicism, Gombrich described Hauser’s work as collectivist and deterministic, tendencies at odds with his own conception of art history. However, in his readiness to label Hauser a proponent of historical materialism, Gombrich failed to recognize Hauser’s own criticism of deterministic theories of art, especially formalism. This article investigates Gombrich’s reasons for rejecting Hauser’s sociology of art. It argues Gombrich used Hauser as an ideological counterpoint to his own version of art history, avowedly liberal and individualist in outlook.     

Central European Heterotopias of Decay: the Poetics of the Real in Andrzej Stasiuk’s On the Road to Babadag

This article analyses Andrzej Stasiuk’s 2004 travelogue On the Road to Babadag: Travels in the Other Europe as a work that questions the existing narratives about the region commonly referred to as ‘Central Europe’. The main argument is that by bringing forward an original interpretation of ruins and decay — theorized here as ‘heterotopias of decay’ — Stasiuk’s poetics of villages and small towns from forgotten corners of Europe invites an interrogation of the notion of Central Europe itself. The narrative’s dismissal of the very term ‘Central Europe’, because it disregards the mundane qualities of the everyday, is presented as an original contribution to the debates about this region.     

Madonna and Child of Soweto: Black Life Beyond Apartheid and Democracy

ABSTRACT

South African artist Laurence Vincent Scully’s 1973 painting, Madonna and Child of Soweto, offers an analytical tool for understanding the capacity of public religion to advance black life. The author argues that this image censures apartheid violence against black persons and reimagines a just sociality by displaying sacred, black motherhood and infancy in the figures Mary and Jesus. Their temporality and corporeality, when analyzed with a queer womanist method, gestate sacred public religion that exceeds both the apartheid governance of the past and also the secular, post-apartheid democracy of today.     

Jean Renoir,The Rules of the Game,Reputation, and Revisionism

Jean Renoir's film La Règle du jeu (The Rules of the Game) was first shown in Paris, in 1939, and is now generally regarded as one of his masterpieces. But there is a strange side to the film. What most critics and reference books say concerning it—and they tend to say much the same thing—does not, to put it bluntly, square with the facts. What they say is that La Règle du jeu is about an aristocratic house-party that is a microcosm of the corruptness and exhaustion of French society on the eve of World War II. Far from perceiving in La Règle du jeu evidence of the “corruption” and “exhaustion” in French society that led to the country's defeat and occupation by the Germans during World War II, however, the author of this essay attempts to see the film for what it is—not for what historicist critics want it to be.