2 | Spring 2004
The Questioning of the Author Function in City
of Glass and The Lizard's Tail
unfolds like a game [...] that invariably goes beyond its own
rules and transgresses its limits" (Foucault 102). In the postmodern
novel, as in the cases of Paul Auster's City of Glass and
Luisa Valenzuela's The Lizard's Tail, the participant is
the author against him/herself. The author plays a kind of literary
solitaire, if you will. These two authors not only go "beyond
[writing's] own rules and [transgress] its limits," they
go as far as to kill the author in the process of their game playing...
Unsettling Fixity and Fantasy:
Hughes, Carl Van Vechten, and The Weary Blues
was the relationship between white patronage and black cultural
production during the Harlem Renaissance? Did relationships between
white benefactors and black artists compromise and/or distort
"black" art? Or, more to the point here, how did the interaction
between white patron Carl Van Vechten and poet Langston Hughes
affect Hughes's work, specifically his first collection of poetry,
The Weary Blues? Full
Bearing Witness to Trauma in Eden Robinson's Monkey Beach
& Kerri Sakamoto's The Electrical Field
individual and cultural recovery [from trauma] is to be possible,"
writes Susan Brison, "survivors' testimonies must be heard" (27).
In Eden Robinson's Monkey Beach, for example, each of the
characters is trying on some level to cope with the ongoing effects
of the colonization and near-destruction of the First Nations
peoples in Canada. Similarly, the characters in Kerri Sakamoto's
The Electrical Field grapple with the internment of Japanese
Canadians during the Second World War. These traumatic events
are a part of the history of the Canadian nation, were sanctioned
by the Canadian state, and yet are routinely made invisible, erased
in an attempt to (re)present a mythical Canada in which such traumas
are insignificant, justifiable, or outright
Longing in The Shadow
Theodor Adorno against the grain, I suggest that the melancholic
sensibility he identifies resonates with recent struggles to articulate
emergent configurations of subjectivity in post-colonial studies.
Such a sense of yearning fuels continued attempts to locate new
forms of collective identification that seek to transcend the
exclusivity of nationalism, while nevertheless enabling a sense
of social solidarity. This messianic hope for political reconfigurations
of identity haunts Amitav Ghosh's novel The Shadow Lines...
There's Two Heroines in One Kitchen:
Lesbianism and Me(h)tafilmic Discourse in Deepa Mehta's Fire
Deepa Mehta uses this relatively simple plot to express her views
on marriage as an oppressive structure of Indian society. However,
the underlying message of this film is what makes it truly subversive
of oppressive structures: Mehta proposes lesbianism and relationships
between women as active choices that offer a safe alternative
to the deep disappointment caused by marriage. She uses metafilmic
discourse in order to emphasize the discrepancy between the highly
romanticized image of heterosexual love (always validated by marriage)
that mainstream Hindi movies are selling to women...
of Norwich and the Integration of Divine Parenthood
fourteenth-century mystic Julian of Norwich wrote her Revelations
of Divine Love or The Book of Shewings in order to understand
a series of fifteen visions she received in May 1371. Her text
explores the ways in which the spirit is revealed (and hidden)
by the flesh as well as the relationship and unification of the
body and soul. Rather than discuss this theological problem in
the traditional theological terms of body and soul, however, Julian
of Norwich chooses to use the metaphors of Father and Mother to
address the Christian's search for spiritual communion...
Mother's Burial, the Daughter's Burden:
Disintegrated and Dismembered Bodies in Faulkner's As I Lay
Dying and Wright's Native Son
paper re-reads the subversive and transgressive bodily manifestations
of the "woman as body of the woman" (Wright, Outsider 393) and
argues that the corpse -- "the utmost of abjection" (Kristeva
4), "the grotesque body" (Bakhtin 316) -- becomes the only signifier
of the female body and voice, both black and white. By discussing
the works of two male American writers, William Faulkner's As
I Lay Dying and Richard Wright's Native Son, I inquire why the
writing of the woman's body becomes possible after that body has
entered the realm of abjection and has become a meaningful corpse...
of Boris Slutsky's "Key"
My comrades didn't love their wives.
Girls with supple hands pleased them,
you find yourself reflected,
a rock... Full
of Jaime Gil de Biedma's "El juego de hacer versos"
Art is a different
Thing. The result
Of much calling
And some work....