Faulkner’s The Sound and the Fury attempts to represent first-person experience in a radical fashion. In what I call (paradoxically) “free indirect discourse in the first person,” Faulkner ostensibly presents both thought thought and thought below the level of awareness together in one stream of text. The Quentin section in particular relies on an idealistic picture of language as meaningful in itself, apart from any intersubjective context or significant use, as though we could bypass communication and look inside Quentin’s head, finding not the brain but the “exact language” of his conscious life. I consider this temptation by way of Wittgenstein’s critique of the privacy of the mental. Wittgenstein’s aim, I argue, is not to deny or demote interiority, but rather to impugn a certain picture of how “the inner” must look — a realm composed of private objects to which the “I” alone has access. I thus suggest that we think of Quentin as an experiment, an appeal. Faulkner tries to reveal a mind in the brutal fullness of its suffering without forcing that mind to address us: to tell us that they suffer. I contend that this appeal fails, and in failing reveals the manner in which the (not-so-private) mind is essentially embedded in a shared, intersubjective world.

August 2023: Daniel Schwartz is a PhD student in English at Brandeis University. His work examines the breakdown of mimesis in modernist literature.

From approximately 1500 to 1650, English references to sulfur’s stench focused on sensory indications of hell, demons, and wickedness in worldly environments. Thereafter, most English references to the pungent rock turned proportionately to technics, medicine, and progress. The increasing presence of sulfuric miasma within secularizing applications for fumigations, gunpowder, and industry led to a limiting of the role of sulfur as a signifier of hell within English environments. Due to economic incentives, supernatural discourses on brimstone atmospheres faced semantic dispersion, as sulfur took on a growing number of connotations instead of remaining a significant environmental signifier of the scent of the devil and his toadies. These shifting literary associations for sulfur exemplify the fluctuating powers of the market, religious voices, biopolitical networks, and the state to define what is matter out of place, or what can be considered too environmentally toxic for economic consumption. Revising the prominence of synchronic work in Early Modern Studies that critiques the disenchantment thesis, and redeploying theory from Douglas, Jameson, Greenblatt, Eagleton, and Rancière, this essay highlights connections between the History of Ideas, Environmental Studies, and literary criticism through asserting that the sheer abundance of sulfuric substances in the environment, caused by increased uses for the rock in the coal-fired furnaces of the eighteenth century, added to a literary dislodgment of mystical definitions of sulfur’s smell as signifying evil. As the Industrial Revolution stuffed chimneys with additional sulfur compounds, material encounters with brimstone became common. Continuously taught that sulfur meant profit and purity, reformed English noses found less sin in the smell of acrid sulfur smoke. This analysis portrays that within literatures that included associations to sulfur, the impending Anthropocene was tested, greenwashed, and approved by the masses of the disenchanting English public sphere.

August 2023: Andrew Kettler taught at the University of Toronto from 2017 to 2019 before serving as an Ahmanson-Getty Fellow at the University of California, Los Angeles during the 2019-2020 academic year. He is currently serving as Assistant Professor of History at the University of South Carolina-Palmetto College. His work has appeared in Senses and Society, Interface, Human Rights Review, the Journal of American Studies, the Journal of the Canadian Historical Association, Patterns of Prejudice, and the Australian Feminist Law Journal. His monograph, The Smell of Slavery: Olfactory Racism and the Atlantic World (Cambridge University Press, 2020), focuses on the development of racist semantics concerning miasma and the contrasting expansion of aromatic consciousness in the making of subaltern resistance to racialized olfactory discourses of state, religious and slave masters.

The term “narrative” has become ubiquitous in public discourse, but to date little work has been done to explore how vitally it is related both historically and theoretically to another contemporary buzzword: creativity. By addressing this lacuna this essay seeks not only to illuminate the popularity of narrative as a mode of knowledge, but to shed new light on its relationship to another core concept in the field: fictionality. The essay argues that the narrative turn and the contemporary boom in instrumental storytelling have been facilitated by a lexical and semantic shift from narrative as artefact to narrative as process, and that this shift is the result of ongoing historical intersections with new secularised and democratised theories of creativity as a human faculty. By tracing this shift we can better understand the contested history of fictionality, particularly in relation to debates about the rise of the novel in the eighteenth century, and bring a new approach to the epistemological underpinings of the narrative turn in the academy and the subsequent popular appeal to personal storytelling in the networked public sphere.

August 2023: Paul Dawson is the author of three monographs: The Story of Fictional Truth: Realism from the Death to the Rise of the Novel (OSU Press, 2023), The Return of the Omniscient Narrator: Authorship and Authority in Twenty-First Century Fiction (OSU Press, 2023), and Creative Writing and the New Humanities (Routledge, 2005). He is co-editor, with Maria Mäkelä, of the Routledge Companion to Narrative Theory (Routledge, 2022) and guest editor of a special issue of Poetics Today on “Narrative Theory and the History of the Novel” (2018). He is winner of the 2010 prize for Best Essay in Narrative; his essays have appeared in journals such as ELH, Style, Studies in the Novel, and International Journal of Cultural Studies. Paul is also a poet whose first book, Imagining Winter (IP, 2006), won the national IP Picks Best Poetry award in Australia. He teaches in the School of the Arts and Media at the University of New South Wales and in 2023 is President of the International Society for the Study of Narrative.

Five issues stand out in the Book of Esther: political feasting, inter-sex conflicts, intra-sex competition, genocidal threats, and the absence of God. Central to these problems is the basic tenet of Persian imperialism, for imperial governmentality is linked to the techniques of judicial, disciplinary, and panoptic power as well as the patriarchal power of (ab)using women to ensure the smooth functioning of family and empire. To rule a multiracial regime, the king’s policies can quickly change from racial assimilation to persecution and later strategic integration. From the point of view of the Jews, multiracial encounters often lead to the birth of hybrid identities, ambivalent mimicry, and racial anxiety or pride. Esther’s survival has much to do with her tactful negotiation with her abused state: she adopts a deracialized profile, becomes a beauty queen, and devises a drama-queen persona to save her people because Haman’s intercessory act is deemed by King Ahasuerus to be a case of sexual assault. The ending highlights three responses: the king accumulates more resources, the Jews celebrate their survival, and Esther positions herself as the queen of vigilance and self-governance. The post-traumatic ethos is not about a descent into cognitive chaos but the resolution to organize the grief-stricken collective memory and broker truthful relationships with neighbors, the self, and God.

March 2023: Magdalen Wing-chi Ki (Ph.D., University of Edinburgh) is Associate Professor of English at Hong Kong Baptist University. She has published papers in Philosophy and Literature, Brontë Studies, Poe Studies, English Studies, Journal of Dramatic Theory and Criticism, Literature Compass, Mississippi Quarterly, Renascence, Dalhousie Review, Renascence, and Theological Studies. Her books include Jane Austen and the Dialectic of Misrecognition (Peter Lang, 2005) and Jane Austen and Altruism (Routledge, 2020).

The paper offers a comment, from the platform of traditional Jewish exegesis, on some of the issues that Magdalen Ki’s article deals with from a more presentist perspective. It highlights the subtlety of the rabbinical approach as well as its modernity and the complexity of the issues that it raises — social (the condition of women and of minorities), philosophical (the absence of God) and symbolic (intertextual reminiscences).

In particular, it is difficult to understand the armed struggle with which this story ends without placing it back into its precise historical context. This episode, which tells of the first organized genocidal project directed against the Jewish people, will serve as a paradigm for the whole history of antisemitism.

March 2023: 

Betty Rojtman is Professor Emerita at the Hebrew University of Jerusalem. She has been the Katherine Cornell Professor of Comparative Literature. As the chair of the Department of French studies, she has founded the Desmarais Center for French Culture at the Hebrew University, and headed it for many years. Her current research deals with Transcendence and Negativity in traditional Jewish sources (Midrash, Hassidism, Kabbalah) and (post)modern texts (literature, philosophy).

Professor Rojtman is the author of several books, including Feu noir sur Feu Blanc: Essai sur l'herméneutique juive (Verdier, 1986); English translation, by Steven Rendall, Black Fire on White Fire: An Essay on Jewish Hermeneutics, from Midrash to Kabbalah, Prefaced by Moshe Idel, 1998), Une grave distraction. Preface by Paul Ricoeur (Balland, 1991), Une Rencontre improbable: Equivoques de la destinée (Gallimard, 2002).

In parallel to her academic work, she writes meditative and poetical essays (Le Pardon à la lune: Essai sur le tragique biblique, Gallimard, 2001. trans. Hebrew by Nir Ratzkovski, Seli’hat halevana, Al hatragiut hatana’hit, Jerusalem, Carmel, 2008), Moïse, prophète des nostalgies (Gallimard, 2007).

Her most recent essay (Une faim d’abîme. La fascination de la mort dans l’écriture contemporaine, Desclée de Brouwer, 2019), has come out in English as Longing for the Abyss: The fascination for death in Contemporary French Thought, trans. Bartholomew Begley (New York: Palgrave-MacMillan, 2020) and in Hebrew as Kemiha Latehom. Kessem Hamavet bahagut hatzarfatit shel hameah haesserim, trans. Itay Blumenzweig (Tel-Aviv: Resling, 2020).

Emile Durkheim was the first scholar to treat suicide as a sociological phenomenon, collective rather than private, thus illustrating the failure of modern individualism. This paper demonstrates that the tragic endings of Goethe’s Werther and Foscolo’s Jacopo Ortis anticipate Durkheim’s suicide classification: Goethe and Foscolo created heroes whose tragic action accords with the basic elements belonging to Durkheim’s typologies.

March 2023: Alberto Castelli is Professor of Human Science at Hainan University, China. He is mainly engaged with Modernism, Postmodern dynamics, and Cross-Cultural Studies. Castelli's publications include: “Bipolarism in the Nineteenth Century Novel” published by University of Toronto Quarterly and “Perspective on Asia: Is China Kitsch?” in International Journal of Asian Studies (Cambridge University Press). Email: 182034@hainanu.edu.cn

In Ursula K. Le Guin’s “The Ones Who Walk Away from Omelas” most inhabitants of the imaginary town fare well, but only on the condition that an unidentified child imprisoned in a dark room suffers: the well-being of most is founded on depriving the child of the inherent right to equality. Such an allegorical image of the suffering child embodies the hierarchical oppositions between adults and children, employers and employees, rich and poor, privileged and underprivileged. This paper analyzes the art of Le Guin’s story and its functioning as a testing ground for ethical theories.

March 2023: Hawk Chang is Assistant Professor at the Department of Literature and Cultural Studies, The Education University of Hong Kong. His research has appeared in journals such as Critique: Studies in Contemporary Fiction, English Studies, Children's Literature in Education, The Explicator, ANQ, Journal of English Studies, Neohelicon, Changing English, Tamkang Review, Wenshan Review, Journal of Language, Literature and Culture, 3L: Language, Linguistics, Literature, and CLCWeb, among others. His monograph Traditions and Difference in Contemporary Irish Short Fiction: Ireland Then and Now was published by Springer in February 2021.

Nigerian playwright and Nobel laureate Wole Soyinka wrote the Jero plays (The Trials of Brother Jero and Jero’s Metamorphosis) thirteen years apart, and they shed light on the distresses of a society in transition from colony to postcolony. Philosopher Achille Mbembe describes the postcolony as a site of high levels of corruption and appropriation of wealth by a ruling elite, a place where colonial rules linger and disrupt the workings of the state. Characterized by a distinctive style of political improvisation defined by excess and a lack of proportion, in the postcolony, regimes of violence are prone to celebrating their own grandeur through macabre public events such as executions. Soyinka satirizes the protagonist of the Jero plays, a Machiavellian con artist who wraps himself in the cloak of Pentecostal Born-Again Christianity, for using blackmail and grift to secure a profitable spiritual monopoly on Bar Beach (to say prayers before and after each execution, to administer last rites, and to preach on the evils of crime). Through depictions of venality at every level of society, the Jero plays illustrate the difficulty of eradicating colonial legacies and demonstrate the deleterious effects of entrenched social and political corruption on daily life in the postcolony.

March 2023: Mark S. Ferrara is associate professor of English at State University of New York and author of six books including Palace of Ashes, Sacred Bliss, and American Community. He has taught for universities in South Korea, China, and on a Fulbright scholarship in Turkey.

Kurt Vonnegut’s Bluebeard is among the least researched of his works, the few critiques on it limited to explorations of the art and the artist in the novel. This article examines the main characters, mostly women, in Bluebeard, in a psychoanalytic framework based on the studies on archetypes and complexes by Carl Jung, Robert Moore, Douglas Gillette, and Joseph Campbell. The article uses these findings along with feminist critiques of Jung to assert that Bluebeard refutes Jung’s essentialist anima-animus model by its anti-sexist depiction of characters. By analyzing the male protagonist’s immature masculinity in Bluebeard and the feminine influence in his turning from an elitist impulsive man-child into an empathetic old artist, the article concludes that Bluebeard replaces the male-biased Jungian schema with a more balanced structure in the post-Jungian feminist vein, presenting a quest for mother, rare in the otherwise father-centric American fiction.

March 2023: Ankit Raj is Assistant Professor in the Department of English at Government College Gharaunda, Karnal and has a PhD in English from the Indian Institute of Technology Roorkee. His current research interests include Postmodern Fiction, Archetypal and Myth Criticism, Psychoanalytic Criticism, and Comparative Literature, on which he has published in Critique: Studies in Contemporary Fiction, Scrutiny2, The Explicator, and ANQ among other journals. Ankit is a guest editor for Essence & Critique: Journal of Literature and Drama Studies (Bingöl University, Turkey). His poems and short fiction have appeared in numerous print and online venues across seven countries. He is a winner of the Hawakal Young Poets 2022 series and the author of Pinpricks (Hawakal, 2022). Prior to entering academia, Ankit has been a software engineer and lead vocalist with rock bands in India. ORCID: https://orcid.org/0000-0003-4565-7682

Nagendra Kumar is Professor in the Department of Humanities and Social Sciences at the Indian Institute of Technology Roorkee, Roorkee, India. He has been the recipient of the Teachers’ Research Grant of the American Studies Research Center, Hyderabad (1996) and the Outstanding Teacher Award, IIT Roorkee (2015). He is a Fellow of the Salzburg Seminar (Austria) and the International Shaw Society (Canada). He has travelled extensively around the globe on academic and professional assignments. His articles have appeared in Critique: Studies in Contemporary Fiction, Scrutiny2, ANQ, The Explicator, South Asian Review, South Asian Popular Culture, Neohelicon, and Media Watch among other journals. ORCID: https://orcid.org/0000-0002- 8292-794

In their memoirs female Holocaust survivors recount the systematic misogynic attack of the female body in Auschwitz. The various literary figures that render, or rather testify to, a scene that is in every way repugnant to humanity in its violence, and the emphasis on the brutal physical aggression inflicted on women in Auschwitz underscore the resulting epistemological malaise.

From the memoirs of Eva Edith Eger (The Choice), Livia Bitton-Jackson (I Have Lived a Thousand Years), Rena Kornreich Gellisen (Rena's Promise), and Erna Rubinstein (The Survivor in Us All), there emerges a collective portrait of the subversive Jewish woman who resists the heavy weight of the Nazi power. Through a close reading of female Holocaust survivors’ memoirs, this essay shows how the brutal assault on gender gave birth – against all odds – to a new Jewish woman who not only overcomes the shock of being despoiled of her basic cultural and gender assets but uses this deprivation to rise above her condition and eventually to write her own self through what Helene Cixous calls “a language of revolution.”

March 2023: Steiner Liliane, Ph.D. Summa cum laude from Bar-Ilan University, is Senior Lecturer in Hemdat Hadarom College of Education. She specializes in comparative literature, gender studies, Holocaust studies, children's literature, philosophy, languages. She is the author of The Interaction between the Sexes, the Post-abjection of the Archaic Mother (Resling, 2014) and Between Breastfeeding and Exams (Mofet, 2019), both in Hebrew. Also in Hebrew she has published three children’s books: Hila's Choice (Sefer Lakol, 1995), Bittersweet Chocolate (Contento, 2014), and The Two Overseers of the Synagogue (Gefen, 2017).

This article is grounded in ideas about defining commitment and the development of self that stem from the writings by Søren Kierkegaard. Kierkegaard’s view that the self develops in relation to three existential stages or “realms” — the esthetic, the ethical, and the religious sheds light on Nicole Krauss’s novels The History of Love (2005) and Forest Dark (2017). Leo Gursky in the former shares the commitment to romantic love of the young swain in Kierkegaard’s Fear and Trembling; but for Krauss’s character this commitment is displaced in favor of a commitment to writing itself. In Forest Dark the notion of writing as defining commitment reemerges through the character Nicole. A transition from the esthetic to the ethical dimension occurs in Jules Epstein’s newfound commitment to the dead. Ultimately, however, Krauss’s characters in these two novels are characterized as lacking the “inwardness” that in Kierkegaard’s writings is necessary for becoming a self that is able to access the religious realm.

March 2023: Nicholas O. Pagan is a visiting professor of English at the University of Malaya. He specializes in literary theory and writes about literature (particularly American literature) in relation to philosophy, mind, and spirituality. His publications include Theory of Mind and Science Fiction (2014). He has also published in journals including Mosaic: An Interdisciplinary Critical Journal; Religion & Literature; Literature and Theology, Journal of Language, Literature, and Culture; and Interdisciplinary Literary Studies: A Journal of Criticism and Theory.

David Foster Wallace’s The Pale King has been increasingly recognized as a critique of American neoliberalism, but whether Wallace suggests any specific way to challenge the status quo is still an open question. Focusing on the character Leonard Stecyk and his relationship with Wallace’s metafictional stand-in in the novel, this essay demonstrates how Wallace expresses an oppositional politics that takes on the ontological premise of neoliberalism. I argue that, against neoliberalism as an ontological project of immanent totality that configures capitalism as the nature of reality and the competitive homo economicus as human subjectivity, Stecyk represents three ontologies of alterity — the radical alterity of free work, the internal alterity of social reproduction, and the pre-individual alterity of affective resonance — that resist the totalization of capitalism, opening up the possibility of sociopolitical change.

March 2023: Shuyu Lee is Assistant Professor at the Department of Foreign Languages and Literature, National Tsing Hua University, Taiwan. She has published works on late-twentieth-century and twenty-first-century American authors, including Saul Bellow, Philip Roth, and David Foster Wallace, from the perspective of contemporary continental philosophy. Her research interests include political economy, new materialisms, and workplace fiction. shuyulee@mx.nthu.edu.tw.

This essay reconsiders the view of George Eliot as the vanguard secular novelist through the tension between her early, yet sustained, commitment to the evangelical belief that joy is a providential reward for suffering and the later complications as she depicted a world appearing to lack divine justice or mercy, without promise of an afterlife. I argue that the novel Adam Bede is not a humanist translation of Christian doctrine but a revision of theodicy both from within and from without Christian tradition, representing the mystery of “human sorrow” and suffering as embodied in Jesus Christ. The novel works through to a belief that such suffering awaits all, rather than some, created beings and to the conviction that joy will never banish suffering — that it co-exists with it, taking the form of love. This revision preserved the Christian primacy of suffering while seeking to equalize it and face its demands.

September 2022: Ilana M. Blumberg teaches at Bar Ilan University. She is the author of Victorian Sacrifice: Ethics and Economics in Mid-Century Novels; Open Your Hand: Teaching as a Jew, Teaching as an American; and Houses of Study: a Jewish Woman among Books. She is currently working on the project "Post-Secular George Eliot," supported by a grant from the Israel Science Foundation.

Examining the alternative tropic imaginaries—demonic and Edenic, respectively— governing the oeuvres of playwright Tennessee Williams and director John Huston this article argues for the convergence of these visions in the context of the latter’s film, The Night of the Iguana (1964). As a means of grounding the distinction between these divergent philosophical, ideological and aesthetic traditions, I turn to the writer whose depictions of exotic, Pacific locales might be considered seminal for American literature, and foundational for both the playwright’s and the film-maker’s tropic sensibilities. Herman Melville’s depictions of the Pacific islands, whether or not they originate the American literary imagination’s readings of the exotic, at least definitively articulate and encode those readings—from the degenerate to the sublime—within literary discourse. Williams’ allusions to Los Encantadas (1854), in Suddenly Last Summer, reveal Melville’s influence upon the playwright’s treatment of the tropics' pathology. Huston, meanwhile, had first stumbled upon the Mismaloya peninsula, where he shot The Night of the Iguana, while searching (albeit abortively) for a suitable location in which to film Melville’s first novel, Typee (1846). The salvific vision of Mexico, refined throughout Huston’s oeuvre and imbued with the spirit of Typee’s tropical fantasy, complements the new optimism detectable in Williams’ Iguana, where renewal and revitalization fall within the realm of tropic possibility. 

Alex Feldman is an Alon Fellow and Lecturer (Asst. Prof.) in the English Department at the University of Haifa. He completed his doctorate at Merton College, Oxford and has held posts at the University of Texas at Austin and MacEwan University, in Alberta, Canada. His research, which has been published (or is forthcoming) in Law & Literature, Law, Culture and the Humanities, Modern Drama, Comparative Drama, New Theatre Quarterly, Modernism/ modernity and elsewhere, is concerned with the representation of history, and most recently, legal history, on stage. He published his first book, Dramas of the Past on the Twentieth-Century Stage: In History’s Wings with Routledge in 2012, and he is currently working on two further book projects: a co-edited collection of essays, with Dan Rebellato (Royal Holloway, University of London) on the plays of Terence Rattigan, currently under contract at Cambridge University Press, and a monograph provisionally entitled The Rigging of the Law, concerned with the development of jurisprudential drama in the modern and contemporary theatre.

Drawing on Scheler and Merleau-Ponty among others, I develop a framework for interpreting certain themes in Proust’s Remembrance of Things Past.  This philosophical novel explores the way love shapes our comportment towards the world of others, and raises the question of whether love is blind or potentially truth-disclosing. Using this literary example, I argue that without the dispositional affects of love, care, or concern — the emotional a priori — nothing in the world around us would be more conspicuous than anything else.  In this case we would be faced with a flat, neutral mass of information, without a sense that any of it matters.  Thus, for a comprehensively unloving human being, everything would seem empty of meaning.  It does not follow, however, that the affective constitution of the world is best viewed as a kind of distortion.

September 2022: Rick Anthony Furtak is Associate Professor of Philosophy at Colorado College, where he has taught for over fifteen years.  His most recent books are Knowing Emotions: Truthfulness and Recognition in Affective Experience (2018, paperback 2020) and The Sonnets of Rainer Maria Rilke (2022).

The publication in 1928 of W. Somerset Maugham’s collection of short stories Ashenden, or the British Agent set a new standard for espionage fiction. Based on the author’s own experience in intelligence work during World War I, three Ashenden stories discussed here, “Miss King,” “The Traitor,” and “Mr. Harrington’s Washing,” portray, in different ways, the pressures that history and ideological conflict place upon individuals and their relationships. Ashenden himself becomes subject to doubt, and often ends his mission in failure or at most an ambiguous victory. As one of the earliest protagonists of the modern espionage narrative, Maugham’s “British Agent” represents not only his nation at war but also the sense that that nation’s power and influence on the world stage are beginning to slip away.

September 2022: Martin Griffin is an associate professor in the Department of English at the University of Tennessee, Knoxville. His publications include Ashes of the Mind: War and Memory in Northern Literature, 1865-1900 (U. of Mass. Press 2009), Narrative, Identity, and the Map of Cultural Policy: Once Upon a Time in a Globalized World (with Constance DeVereaux, Ashgate, 2013), and an edited collection on the interactions of American literature and US political history, Stories of Nation: Fictions, Politics, and the American Experience (with Christopher Hebert, U. of Tenn. Press, 2017). He is currently completing a book-length study entitled Reading Espionage Fiction: Narrative, Conflict, and Commitment from WW1 to the Contemporary Era.

Since its publication and first performance, Edward Albee’s Who’s Afraid of Virginia Woolf? (1962) has often been interpreted with regard to the theme of truth and illusion. A less studied but nonetheless important aspect of the play concerns its relation to C. P. Snow’s concept of the “two cultures.” This article argues for the convergence of these two discussions, resulting in an epistemological understanding of Albee. The play not only rejects the mutual alienation of the “two cultures” but also constitutes a dramatic move toward a synthesizing “third culture.” Who’s Afraid of Virginia Woolf? is read as an epistemological drama of ideas.

September 2022:  Andreas Tranvik is a PhD candidate in Comparative Literature at the Centre for Languages and Literature, Lund University. His research is primarily focused on literature as it relates to the history of knowledge. Currently, he is working on a research project about humour and knowledge in the works of the 18th century Danish-Norwegian writer Ludvig Holberg.