Rachele Dini discusses how the work of J.G. Ballard, Don DeLillo, and Samuel Beckett engages with one of the most pressing environmental issues of our time
Rachele Dini, Consumerism, Waste, and Re-Use in Twentieth-Century Fiction (Palgrave, 2016)
Rachele Dini, Consumerism, Waste, and Re-Use in Twentieth-Century Fiction (Palgrave, 2016)

What motivated you to write Consumerism, Waste, and Re-Use in Twentieth-Century Fiction?

Well, I’ve been attracted to remnants of different kinds since I was very little, and was obsessed with cutting up magazines as a teenager—but intellectually, the turning point for me was during my MA at King’s College London. I noticed almost immediately that the texts on the modules I was taking were unusually concerned with fragments and fragmentation. Dickens, Zola, Eliot, Elizabeth Bowen, Fernando Pessoa, Virginia Woolf, Ballard, Calvino, and of course Walter Benjamin and Adorno: physical and metaphorical waste proliferates in all of these authors’ work. In hindsight, this was to be expected since the course focused on the seismic effects of capitalist modernity, and waste is certainly one of these. But that focus on residual matter reproaching you for throwing it away, or on things not working and stuff falling apart, especially compelled me at the time, since it was the opposite in every way from the focus of my day job in market research. Market research is an industry essentially devoted to promoting the very things that leftist theory denounces: its modus operandi is to find ways of selling more. So the first spark for the PhD project that ultimately turned into this book was the conflict between the rhetoric of ‘harder, better, faster, stronger’ (to quote Daft Punk) I was accustomed to in my working life, and all of the countercultural—or simply denunciatory—writing I discovered through my studies, which called that rhetoric into question. (more…)

Michael Lackey on the popularity of the biographical novel, and what it can tell us about the relationship between literature, history and truth
Michael Lackey, The American Biographical Novel (Bloomsbury, 2016)
Michael Lackey, The American Biographical Novel (Bloomsbury, 2016)

What motivated you to write The American Biographical Novel

Through my reading of biographical novels, I noticed a shift in the nature of literary truth.  In Heart of Darkness, Joseph Conrad illuminates the colonial mentality that enabled Europeans to plunder Africa and to abuse Africans with impunity.  Conrad represents that mentality through Kurtz, and as the narrator says, “all Europe contributed to the making of Kurtz.”  In essence, if we want to understand the European mentality that justified colonization and its horrific outcomes, we can look to Kurtz for some answers.  But with the rise of postmodernism, there has been growing skepticism about the traditional literary symbol.

Put simply, postmodernists question the value of an overarching truth claim, because they realize that someone constructed that truth for an ideological or political reason.  This approach to truth impacted the traditional literary symbol, so a postmodernist could easily say: “Look, Joe, you constructed the character of Kurtz in order to promote your own ideological agenda.  Therefore, I don’t see any reason why I should consider a character like Kurtz as symbolic of the European mind.”It is my contention that biographical novelists were becoming increasingly aware of the problems with the traditional literary symbol, but they also did not want to get rid of the literary symbol, because they realized that it could be effectively used to expose the structures and conditions of oppression.  (more…)

Espen Terjesen’s beautifully drawn essay on Bernhard’s writing

4b523-espen-terjesen-thomas-bernhard-graphicnovel-comic

I’m very excited to share a beautiful and concise ‘graphic essay’ on the work of Austrian writer Thomas Bernhard. The essay was written, drawn, and designed by Espen Terjesen, an illustrator, cartoonist, pixel artist, teacher/lecturer, and writer working in Bergen, Norway. In addition to the original essay, Terjesen has also been kind enough to provide me with an English translation.

Terjesen’s work not only presents themes from Bernhard’s writing with striking, icy accompaniments, but offers a playful approach to the traditional academic essay. By combining elements of literary criticism with the graphic novel, Terjesen’s reading of Bernhard becomes, in itself, a creative act. What we are left with is something both thought-provoking and accessible.

To see the strip in its original format, please find links to Terjesen’s essay at the bottom of this post. In its complete form, the essay includes a number of footnotes and recommended reading. You can click any of the images to enlarge them. Enjoy! (more…)