Challenging the Quimera (Sirena) Negra: Unamuno Reads Pardo Bazán

This article examines the literary relationship of Emilia Pardo Bazán and Miguel de Unamuno by analyzing Unamuno's 1905 review of La Quimera, as well as his tribute to Pardo Bazán on the occasion of her death in 1921. These two critical pieces, together with Unamuno's Dos madres and La tía Tula, reveal that while Unamuno dismisses Pardo Bazán's realism in his discussion of her works, he develops in his own fiction alter egos who struggle with dominant female figures, just as he competes with Pardo Bazán's model of authorship.     

J.B. Priestley: Bradford and a provincial narrative of England, 1913–1933

J.B. Priestley's writing has been used to explore aspects of landscape and Englishness. Through an analysis of Priestley's early journalism in the Bradford Pioneer and the Yorkshire Observer, we argue that his critical disengagement to most of the landscapes of England was based on a connection to the landscapes of his youth in Bradford where he first developed his fictional and documentary narrative style. In his early journalism, Priestley articulated a sense of dwelling in Bradford that was rooted in the experience of two distinct local landscapes: the spaces of the city and the nature of the surrounding upland and moorland. Priestley's geographical ideal balanced the civility of the Edwardian city embedded in a landscape that offered escape to and commune with nature. The existential balance between the two was, we argue, central to the narrative geographies developed by Priestley in his fiction which is illustrated through an analysis of his two early novels: The Good Companions (1929) and Angel Pavement (1930). We suggest that the ways in which Priestley's interwar writing expressed dwelling in local landscapes might be thought of as a critical provincialisation of London and England.     

TIME,NARRATIVE, AND FICTION: THE UNEASY RELATIONSHIP BETWEEN RICOEUR AND A HETEROGENEOUS TEMPORALITY

In Time and Narrative, Paul Ricoeur confirms the relationship between time experience and how it is epitomized in a narrative by investigating historiography and fiction. Regarding fiction, he explores temporality in three “novels of time” [Zeitromane]: Mrs. Dalloway by Virginia Woolf, The Magic Mountain by Thomas Mann, and À la recherche du temps perdu by Marcel Proust. Ricoeur perceives the temporalities as homogeneous; however, in my view, the novels contain at least three different temporalities. Mann seeks a new temporality by ironizing a romantic time of rise and fall and Woolf configures a time we can call the simultaneity of the dissimultaneous. In his analysis of Proust's À la recherche du temps perdu, Ricoeur explicitly dismisses a Bergsonian approach to temporality. In my opinion, Bergson defends a heterogeneous time that is apparent in Proust's novel.     

Policing intercultural encounters: adventures in Beijing

This article reflects on the notion that China is viewed in the West as a site of absolute cultural Otherness, and contributes to debates around the manner in which Euro-Chinese intercultural interaction is imagined in European thought. Adopting a perspective inflected by Foucault's representation of disciplinary power, and by critical work pursued in the field of Contact-Studies, it scrutinises European cultural artefacts that map Beijingese space, and the adventures in that space of the European subject. These artefacts, which deal with different Beijings, are Victor Segalen's Rene´ Leys; Pierre-Jean Remy's Le Sac du Palais d'E´te´; and Christian Garcin's Le Vol du pigeon voyageur. The essay shows that the novels defy our expectation that variant ‘distillations’ of China—Imperial, Republican, post-Maoist—might invite different representations. And it concludes that the novels examined evince a European desire not to represent Beijing, and China, as a zone of transcultural contact.     

Marie Corelli and the Value of Literary Self-Consciouness: The Sorrows of Satan,Popular Fiction,and the Fin-de-Siècle Canon

Marie Corelli's The Sorrows of Satan (1895) presents a paradoxical test case for the practice of academic literary criticism. The best-selling work of fiction of the nineteenth century, the book was demeaned by Victorian critics and has been long ignored by criticism since. In spite of Corelli's recent mini-revival, the formally self-conscious properties of this work deserve further examination: the text insistently foregrounds the act of literary criticism and demands that the reader's attention is focussed on not only the content of the narrative but also the nature of the procedure of reading. Such a strategy allows Corelli's romance to participate safely in the kinds of literary transgressions enacted in the work of her since-canonized contemporaries such as Thomas Hardy and Oscar Wilde. The narrative mode warns against the production of the wrong kinds of readings of the narrative, inoculating its consumer against the corruption suffered by many of Sorrows's characters – and by the readers of the kinds of contemporary fiction Corelli seeks to warn against. As a consequence, The Sorrows of Satan, while exiled from the canon, shows itself to be surprisingly representative of the image of fin-de-siècle literary culture constructed by its afterlife. Like so many 1890s fictions, it is a work of art about the work of art, and dramatizes such by now familiar late-Victorian tropes as: decadence, moral relativism, debates over literary taste, realism, post-Ibsen drama, the sexual double standard, the marriage market, the New Woman, motherhood, hysteria and female pathologies, degeneration anxiety, mesmerism. The Sorrows of Satan's status as forgotten best-seller, a ‘great bad book’, asks difficult questions about the relationship between literary criticism and literary pleasure.     

From golden hills to sycamore trees: pastoral homelands and ethnic identity in Irish immigrant fiction, 1860–75

The prose fiction that remembers the trials of starvation and eviction of the Great Famine (1845–50) often juxtaposes representations of blasted, infertile land with images of a green, idyllic Erin. Through a discussion of Mary Anne Sadlier's Bessy Conway (1861), Elizabeth Hely Walshe's Golden Hills: A Tale of the Irish Famine (1865) and John McElgun's Annie Reilly (1873), this article reveals that immigrant writers of the Famine generation often negotiate depictions of Famine-stricken wasteland with evocations of a pastoral homeland. In the case of the two Catholic novels, Bessy Conway and Annie Reilly, the pastoral becomes a point of ethnic identification through which the immigrants can recollect and reconstruct a sense of Irishness in exile. By contrast, Golden Hills, which focuses on the Anglo-Irish ascendancy, does not lament the mass exodus of afflicted Irish: the novel rather envisions emigration as a way to regenerate Ireland as locus amoenus.     

Death at St Bernard's: Anti-vivisection,Medicine and the Gothic

Displaying a Gothic fascination with the misapplication of science, Edward Berdoe's St Bernard's: The Romance of a Medical Student (1887) was one of a number of novels in the 1880s that repackaged the horrors of vivisection for public consumption. Although the novel can be dismissed as derivative, it departed from standard themes found in other anti-vivisection texts. Through the device of a hero struggling with the moral implications of science and the reckless treatment of patients, St Bernard's challenged the legitimacy of the teaching hospital. The present article moves debate about the Gothic, literature and science beyond well-known texts by Stevenson and Wells to examine how St Bernard's combined ‘the methods of science with the methods of romance’ and shifted the anti-vivisection narrative into the hospital. In locating the novel within anti-vivisectionist uses of fiction and late-Victorian anxieties about experimental medicine and the teaching hospital, the article explores the novel's relationship with other anti-vivisection texts and Gothic fiction, and examines what it says about scientific practices and mentalities. St Bernard's fashioned a very different hospital from existing representations to warn readers of how brutish students and cruel doctors tortured patients. In doing so, the novel recast the teaching hospital as an uncanny and dangerous place.     

Writing from the margins: Marina Carr's early theatre

This article analyses Marina Carr's first four plays: Low in the Dark (1989), The Deer's Surrender (1990), This Love Thing (1991) and Ullaloo (1991). It aims to show how Carr seeks to eschew the mimetic conventions of what can be seen as a dominant, patriarchal theatre establishment, marking (and possibly maintaining) her marginal position as a theatre-maker at the time. I argue that Carr, at this point in her career, was engaged in distinctly feminist theatre practices. Materialist feminist discourse provides a useful framework for understanding what the emergent dramatist was trying to achieve and the meaningful possibilities of her work. A study of this phase of Carr's career, encompassing all four works preceding The Mai, has not been offered in research on the dramatist to date. In addition to expanding the history of feminist theatre practice in Ireland, it promotes an enriched understanding of Carr's theatre as a whole.     

From the Absent Mother to the Oppressive Mother to the New Mother in Lucía Etxebarria's Un milagro en equilibrio

This article examines the transformation of maternal and paternal images that occurs in Lucía Etxebarria's 2004 novel Un milagro en equilibrio. Sandra Schumm argues that the novel engages and transforms the postwar archetype of the “absent mother.” Using Schumm's study as a springboard, my article takes this argument further by showing how Etxebarria rewrites a second maternal archetype, the “oppressive mother,” a figure that symbolizes patriarchal values and the Francoist regime in many postwar narratives by women. At first, protagonist Eva Agulló characterizes her mother, Eva Benayas, as one of these oppressive mothers, a characterization that Etxebarria has also employed in her two most famous novels to date, Amor curiosidad, prozac y dudas and Beatriz y los cuerpos celestes. Un milagro en equilibrio marks a change in Etxebarria's treatment of mothers because, as the novel progresses, Agulló questions and then complicates this portrayal. The Benayas that emerges is a complex woman influenced by personal, familial, and national conflicts. Conversely, Agulló's father comes to assume more culpability for family abuse and dysfunction as Agulló associates him with Francoism. This reassessment of maternal and paternal roles demonstrates Etxebarria's own evolution in maternal representations as it dialogues with and recreates previous works such as Ana María Moix's 1969 novel Julia and Ana María Matute's 1959 Primera memoria and 1969 La trampa—three foundational novels that also employ tyrannical maternal figures. In rejecting the oppressive mother role she had assigned to her mother, Agulló rewrites a long history of maternal figures associated with the Francoist regime in many postwar narratives by women.     

Constitutionalism,the Public Philosophy,and Political Science

Examining Willa Cather's corpus of literary works reveals several phases of her illustrious career. After defending commercial culture in O Pioneers! and My Ántonia, her later novels, especially her One of Ours, diagnose an unmediated split in the Western world illustrated by the experience of the Great War: the bourgeois commercial culture undermines aspirations for human greatness. Her later novels deepen this diagnosis and offer a way out in a return to a rooted community of believers living in the shadows of the Church.     

ALL THIS HAPPENED,MORE OR LESS: WHAT A NOVELIST MADE OF THE BOMBING OF DRESDEN1

Kurt Vonnegut's novel Slaughterhouse‐Five (1969) was a popular and critical success when it first appeared, and has had a notable impact on popular perceptions of “the bombing of Dresden,” although it has been criticized by historians because of its inaccuracy. This article analyzes the novel's quirky, comic style and its generic mixture of science fiction and testimony, showing how Vonnegut consistently used ingenuous understatement as a way of imaginatively engaging his readers with the horrors of war. The article argues that the text's aesthetics are closer to those of graphic novels than of realist narratives and that, accordingly, we can understand its cultural impact only by approaching it as a highly artificial linguistic performance with present‐day appeal and contemporary relevance, and not merely by measuring the degree to which it gives a full and accurate mimesis of past events. The article uses the case of Vonnegut to advance a more general argument that builds on recent work in cultural memory studies: in order to understand the role that literature plays in shaping our understanding of history, it needs to be analyzed in its own terms and not as a mere derivative of historiography according to a “one model fits all” approach. Furthermore, we need to shift the emphasis from products to processes by considering both artistic and historiographical practices as agents in the ongoing circulation across different cultural domains of stories about the past. Theoretical reflection should account for the fact that historiography and the various arts play distinct roles in this cultural dynamics, and while they compete with one another, they also converge, bounce off one another, influence one another, and continuously beg to be different.     

Rewriting apartheid South Africa: race and space in Miriam Tlali and Lauretta Ngcobo’s novels*

This article employs oppositional black geography as a lens to examine spatiality in the novels of two black South African women writing during apartheid, Miriam Tlali and Lauretta Ngcobo. In analyzing Tlali’s Muriel at Metropolitan and Ngcobo’s And They Didn’t Die, it argues that the authors used a critical spatial analysis of the nation to critique apartheid and its oppressive policies. It holds that by insisting on authoring their own worlds in a country that sought to deny them creative agency, Tlali and Ngcobo carved out intellectual space that enabled them to critique dominant ideologies of Afrikaner nationalism and white supremacy, while imagining and writing alternatives to a nation to which their relationships were primarily ones of disavowal and subjugation. Both Tlali and Ngcobo render visible the fissures within the seemingly naturalized apartheid sites they construct in their fiction, revealing the inherent contradictions and injustices of apartheid spatiality. Through their fiction, they were thus engaged in situated knowledge production and a reconfiguration of apartheid space into a more socially just place. In narrating subaltern discourses in their novels from the standpoint of those most oppressed by apartheid law and ideology and by creatively engaging the spatiality of apartheid, Tlali and Ngcobo offer new modes for reading the nation, valuable for elucidating the ways in which the national space genders black women, and how black women, in turn shape and reshape that space.     

RESTORING CONTINUITY: NOTES ON HISTORY AND FICTION

In 1935, as Europe witnessed the rise of fascism, Paul Valéry tried to identify the origins of the crisis in a lecture titled “Le bilan de l'intelligence.” Things were better, he claimed, when people were able to understand their present moment as the result of past events—that is, when “continuity reigned in the minds.” In this article, I discuss why that sense of continuity with the past is, in fact, indispensable for individuals and societies alike; using instances from great works of fiction, ranging from Don Quixote to the novels of Toni Morrison and Abdulrazak Gurnah, I suggest that fiction—the literary imagination of the historical past—might be uniquely adept at restoring continuity when it is broken.     

STALINISM IN RETROSPECT: HANNAH ARENDT

Established writers whose reputation is affixed to a particular line of argument are typically ill disposed to change their minds in public. Some authors sincerely believe that the historical record vindicates them. Others are determined that the historical record will vindicate them. Still others ignore the historical record. Among students of totalitarianism, no one had more at stake reputationally than Hannah Arendt. It is not just that The Origins of Totalitarianism (1951) established her as the premier thinker on its topic. It is also that totalitarianism, as she understood it, ribbons through all of her subsequent books, from the discussion of “the social” in The Human Condition (1958) to the analysis of thinking in the posthumously published The Life of the Mind (1978). How ready was she to adapt or to change entirely arguments she had first formulated as early as the mid‐to‐late 1940s? “Stalinism in Retrospect,” her contribution to Columbia University's Seminar on Communism series, offers a rare opportunity to answer, at least partially, this question. Arendt's foil was the publication of recent books on Stalin and the Stalin era by three Russian witnesses: Nadezhda Mandelstam, Roy Medvedev, and Aleksandr Solzhenitsyn. According to Arendt, the books meshed with her own theoretical conception of Bolshevism while changing the “whole taste” of the period: they contained new insights into the nature of totalitarian criminality and evil. “Stalinism in Retrospect” documents Arendt's arguments and challenges to them by a number of the seminar's participants. Of particular note is the exchange between her and Zbigniew Brzezinski, an expert on the Soviet Union, a major interpreter of totalitarianism in his own right, and soon to be President Carter's National Security Advisor (January 1977–January 1981). Notes by the editor, Peter Baehr, offer a critical context for understanding Arendt's argument.     

An argument manqué: Kate O'Brien's Pray for the Wanderer

Kate O'Brien wrote Pray for the Wanderer (1938) as a riposte to the Irish Censorship of Publications Board for the banning of her novel Mary Lavelle (1936). While Irish writers routinely fell afoul of the government, Pray for the Wanderer stands alongside only Liam O'Flaherty's The Puritan (1932) as a novelistic response to censorship. However, despite the historical importance of these two books to Irish Studies, there has been very little of substance written on either of them. It has instead become a short-hand method of discussing censorship for scholars to simply gesture towards these works and their authors as exemplary. In the end, this approach does nothing to enhance our understanding of how censorship functions, the contentious debates it engenders, or the social nature of such a text. The article addresses these lacunae by examining Pray for the Wanderer as a critique of censorship. By setting the novel alongside contemporary press reports and editorials, the article demonstrates that while the book might be critical of censorship and its effects on artists, there is much in it that undermines the anti-censorship position it purportedly takes.     

Identity predicaments and the music metaphor in contemporary Irish fiction

Abstract

Ever since Jimmy Rabbitte proffered his oft-quoted “niggers of Europe” line in Roddy Doyle’s The Commitments (1987), contemporary Irish culture, especially during the boom years, was characterised by an insistent revisiting of popular music as a metaphor for interracial and/or intercultural connection or understanding. Cross-cultural identification through music may be seen, in Werner Sollors’s memorable terms, as an eschewing of “descent” relations in favour of “consensual” relations. This essay revisits the music metaphor as it has manifested itself in Irish fiction since it was announced officially that Ireland had entered recession in 2008. Specifically, it explores Kevin Curran’s Beatsploitation (2012) and Joseph O’Connor’s The Thrill of It All (2014) arguing that, through their deployment of the music metaphor, the novels stage the murky politics of contemporary Irish iterations of consent and descent. By exposing the extent to which the rhetoric of Irish economic recovery is yoked to paradoxical invocations of volitional and ancestral Irishness, the novels urge their readers to consider the ways in which discourses of economic recovery work to reinforce and perpetuate patterns of exclusion and marginalisation established during the Celtic Tiger years.     

The Changing Faces of Canada: Images of Canada in National Geographic

Carol Shields, one of Canada's and America's most popular and critically acclaimed writers, is the perfect example of the former permeability of the Canada–United States border. Born Carol Ann Warner in Oak Park, Illinois, in 1935, she married Canadian engineering student Donald Shields and immigrated with him to Canada in 1957, becoming a Canadian citizen in 1971. Between her immigration to Canada and her death nearly half a century later, Shields criss-crossed the 49^th parallel – traditionally known as the world's longest undefended border, until 9/11 drastically changed travel – with ease. Her fictional characters cross the Canada–United States border with equal ease. Shields crosses borders not only literally, but also figuratively, as she travels from genre to genre with ease. Most famous for her fiction, Shields published in many genres, including poetry, drama, short stories, biography, and literary criticism, and she incorporates these other genres in her novels. Thus, Shields shows how art can cross borders with exemplary grace.     

Righteous Realism Versus Postmodern Play: The Israeli–Palestinian Conflict in Female-Authored French Fiction

This article analyses literary mediations of francophone Jewish attitudes towards Israel, and particularly towards the Israeli–Palestinian conflict. Its primary corpus comprises two female-authored novels published during the Second Intifada: Olivia Rosenthal's Les Fantaisies spéculatives de J.H. le sémite (2005) and Chantal Osterreicher's L'Insouciance d'Adèle (2006). It demonstrates how these two texts represent antithetical stances towards Israel, the former intermittently critical and even censorious, the latter defensive and at least partly valorising. Given the status of both authors as French-born Jews (although Osterreicher now lives in Israel), both of these texts can be seen to mediate heterodox attitudes to the conflict. But the heterodoxy depends upon the context in which the reader places the two authors. In the context of the twenty-first-century France in which it was published, which, like most other countries in the global mediasphere, is heavily critical of Israel, Osterreicher's text is acidly contestatory of default-position anti-Zionism. On the other hand, in the context of the French Jewry to which Rosenthal belongs, which has traditionally evinced unflinching solidarity with Israel, her own critique of that country's dealings with Palestinians is equally contestatory, and, despite its ludicity, is no less impactful than Osterreicher's reverse discourse. A final axis of enquiry is the extent to which there may be some consensus as well as obvious dissensus between these two ostensibly antinomous texts.     

Mongrel nation: animality and Empire in the novels of J.G. Farrell

The novels of J.G. Farrell (1935–79), reveal a writer preoccupied with the cultural representation of Britain in an era of post-imperial decline. Farrell's ‘Empire trilogy’ illustrates a national consciousness examining its chequered past through focus on Ireland in Troubles (1970), the Indian Rebellion of 1857 in The Siege of Krishnapur (1973) and the fall of Singapore in The Singapore Grip (1978). In doing so, Farrell's novels feature a notable proliferation of flora and fauna, particularly his use of dogs as representative of national character and the changeable state of British society under attack. This article argues that Farrell's novels explore the state of post-imperial Britain through a sustained focus on dogs and animality. In situations marked by degradation and decline, Farrell gradually collapses the boundaries of order and disorder, obedience and disobedience and man and beast, inviting comparisons between the animal instincts of the dogs that populate his novels and those of Britons fighting for survival.