'Totalitarianism', Treason and Containment in Catch-22 (and 1984)

Abstract

Critical writing on Catch-22 has often centred (quite naturally and understandably, it must be said) on concepts such as paradox, black humour and the absurdity of the human condition. Although these approaches have certainly not been without profit and have produced interesting readings, they have also tended to obscure, under the generic nature of such frameworks, the novel's patent political concerns — concerns which, moreover, are not at all unrelated to the usual critical preoccupations. In a similar way, although Catch-22 criticism has often relied heavily on the detection of literary allusions and influences at work in the text, a most obvious source of influence seems to have been generally ignored. This essay attempts to offer a different reading of Catch-22 based on the assertion that what the novel is really about is 'totalitarianism'. Its starting point is, therefore, a parallel reading bringing together Heller's best-known book with one of the central literary texts on 'totalitarianism' — George Orwell's 1984. Focusing initially on the similar way(s) in which the two novels construct what is called a 'totalitarian' atmosphere, the essay proceeds to briefly demonstrate the bearing of the 'totalitarian' problematic on another important '60s novel, E. L. Doctorow's Welcome to Hard Times, and to offer a fuller reading of Catch-22, including a summary excursion into the difficult question of how the student of '60s American fictions should approach the concept of 'totalitarianism'.     

'Becalmed on Strange Waters': Wordsworth,Reagan and Late Ashbery

Abstract

This essay presents an analysis of 'A Wave', the watershed poem of Ashbery's later career, as a Wordsworthian response, in the medium of the romantic crisis poem, to the rise of Reagan and neo-liberalism. 'A Wave' was composed between 1982 and 1984 amid drastic changes to US domestic and foreign policy that aggravate the necessity for a change in poetic stance from the newly 'central' American poet Ashbery had become. In this context, the relationship is explored between 'A Wave' and a poet similarly engaged in articulating crises of social conscience as part of a more specific development of poetic personality. 'A Wave', then, is read as a reading of Wordsworth's Prelude. In this, the particular stylistic issue of Ashberyan metaphor is raised, as 'A Wave', for the first time within Ashbery's reading of romanticism, begins to position irony at the centre of romantic metaphor. Finally, I conclude that the result of Ashbery's wavering crisis poem is a positioning of style as the ultimate determinant of social self-identity.     

The changing concept of violence in Jack London

Abstract

This article traces an evolution in Jack London's views on violence from 'Revolution', The Iron Heel and 'Goliath' to The Assassination Bureau. In the former, London hailed acts of terrorism as a means of revolutionary struggle; in the latter, he denounced violence as a socially inexpedient tactic. Possible reasons for this shift in vision are considered. One of these was the impact of dramatic events in Russia. Methods used by the 'Fighting Organization of the Social Revolutionary Party' were indirectly described in The Iron Heel and viewed approvingly. A subsequent disillusionment with its activities is reflected in The Assassination Bureau. The role of William Walling, a famous journalist-socialist who became a prototype of Winter Hall, is discussed in the article. The plot of the never-completed late novel and the characterization testify to a change, though temporary, in London's Social Darwinistic sensibilities.     

Challenging disenchantment The discreet charm of occult TV

Abstract

Occult imagery is widespread in the contemporary global mediaverse, including in TV programs such as Buffy the Vampire Slayer, Charmed, Sightings, and The X-Files. This article considers the popular cultural presence of the otherworldly and the magical in relation to the strand of theorizing, beginning with Max Weber and taking a postmodern turn in Jean Baudrillard, that treats the cultures of Western modernity as disenchanted ones. In particular, it turns to Baudrillard's concept of seduction, which, while generating controversy in cultural theory circles, has had only a limited impact in media studies. The article argues that 'tele-visions of the otherworldly' constitute an enchanting challenge to modernist dis-illusionment, serve as a counterpoint to Baudrillard's 'obscene' media hyperrealism, and promote forms of imagination that, like magic realist literary fiction, undermine certain drives toward mastery associated with the dominant knowledge formations of Western modernity. TV's occult imagery can thus serve as the site of an unsettled and unsettling critical imagination, a skeptical popular subjunctivity.     

A neglected classic: Leonard Marsh's Canadians In and Out of Work*

Depuis sa parution en 1965, La mosaïque verticale de John Porter est considéré, presque à l'unanimité, comme la première étude vraiment complète de la structure des classes dans la société canadienne. Les auteurs de cette communication contestent cette idée et soutiennent que cette distinction revient de droit — à quelques nuances près — au livre peu connu de Leonard Marsh paru en 1940 sous le titre Canadians In and Out of Work: A Survey of Economic Classes and their Relation to the Labour Market. Les auteurs présentent également une brève explication de type «sociologie de la connaissance» de l'accueil différent qu'on a réservé aux deux études. John Porter's The Vertical Mosaic, published in 1965, is generally regarded as the first comprehensive study of Canada's national class structure. This paper makes the (qualified) argument that it is Leonard Marsh's little-known volume, Canadians In and Out of Work: A Survey of Economic Classes and their Relation to the Labour Market, published in 1940, that deserves this mark of distinction. The paper also provides a brief ‘sociology of sociology’ type of explanation for the difference in the receptions accorded the two volumes.     

An Interpretation of the Occult Symbolism in Mikhail Bulgakov's The Master and Margarita

Abstract

Much of the extensive scholarly criticism on The Master and Margarita has focused on Bulgakov's 'cosmology' and how the events of the novel can be seen as a mirror of his world view. In particular, The Master and Margarita is often seen as a literary exposition of a Gnostic outlook. The overwhelming tendency of many studies is to look for a 'key' which can unlock the riddles in the novel and answer some of the more difficult questions pertaining to developments in the plot. This often means that the book is approached from the outside. In contrast, I have tried to look at it from the inside out, and ask how the imagery and symbolism in the book can help answer some of these questions and reveal clues as to Bulgakov's intentions and world view. The fact that much of the symbolism in the book is drawn from Goethe, witchcraft and black magic has been noted — but not that this occult symbolism runs much deeper to include, for example, Masonic and alchemical motifs. As well as exposing this particular layer of symbolism, I have examined how it points to Bulgakov's belief in the importance and need of a spiritual 're-birth' both for individuals and for Russia itself; and that the secret to regeneration lies in the power of such an inner journey.     

Revivifying Russia: Literature,Theory, and Empire in Viktor Shklovskii's Civil War Writings

Abstract

When in 1924 Iurii Tynianov identified Viktor Shklovskii's memoir A Sentimental Journey as a work 'on the margin of literature', he was commenting on the text's generic experimentation. But he also provided an apt label for its geopolitical setting, as war drives Shklovskii back and forth from Russia's dying imperial centre Petrograd to the country's peripheries. The sometimes uneasy relationship between Shklovskii's literary theory and his movement through the disintegrating Empire is this essay's main focus. Drawing on recent scholarship that identifies a fundamental paradox of modern literary theory as both the cosmopolitan study of literature per se and a discipline validated by national literary canons, the essay proposes that Shklovskii negotiates cosmopolitan and national impulses by exploring Russian literature as the expression of a multi-ethnic and multilingual empire. In analogy with Shklovskii's famous dictum that art exists to 'make the stone stony', the argument is made that in his Civil War writings Shklovskii strove to revivify the Russian Empire, that is, to 'make Russia Russian', by presenting his readers with a new and strange view of Russia from its imperial borders.     

Of Race/Religion,Nation and Violence: Incident at Vichy and Final Solutions

Abstract

Arthur Miller's Incident at Vichy (1964) and Indian English playwright Mahesh Dattani's Final Solutions (1992) invite comparison in that they each deal with a historic moment that demonstrates contextually how violence can be common to racism, (organized) religion, and national imagining. While Miller's play externalizes human cruelty by locating it in the Nazi experience, Dattani's — centred around the recent Hindutva movement in India — clearly evokes the image of the Holocaust, without equating it with Nazism, though. Yet similarities between the plays abound — suspect secularity of the nation-state, insecurities around one's racial/ethnic/religious identity, denial of responsibility, and the eventual need for human communication. The endings of both plays posit a certain notion of justice, but without clarifying whether it can be realized through 'the true humanly valuable concepts' of decency and love or whether it functions more as 'a claim made by the oppressed'. This tone of self-criticality underscores the persistent need for restraint in the exercise of power.     

'The look of hope or the look of sadness': Robert Frank's dialogical vision

Abstract

This article examines the work of Robert Frank with reference to his seminal photographic work, The Americans, and its relationships to his later post-1970s images. It argues that the 'outside eye' he brought to the US post-war consensus offered him a new comparative critical position and represented a fundamental, counter-cultural shift in the tradition of documentary photography. This vision formed around Frank's multiple 'dialogues', with the US social landscape, with earlier traditions of documentary and 'street' photography in Europe and the USA, and with the Beat generation's radical challenges to dominant post-war values. This 'moment' of overlapping and interconnected relations forms the basis for this discussion of Frank's importance as a 'political' commentator whose work has influenced generations of photographers and shares much with those writers who emerged as the Beats.     

'Traveling Barbies' and rolling blackouts Images of mobility in Mira Nair's Monsoon Wedding

Abstract

This article proposes to read Mira Nair's film Monsoon Wedding through a critical framework provided by transnational anthropology. Such a framework suggests that approaches celebrating transnational mobility must be balanced against nationally specific forms of constraint. It is argued that Monsoon Wedding bears out precisely such a balance. Nair's film suggests that the mobility of human lives may not be quite as unfettered as that of cultural commodities. Moreover, the filmic narrative insists on a differentiation within the Indian diasporic community. Similarly, some theorists of transnationalism have cautioned that the concept of a 'diasporic community' may serve to obfuscate class distinctions. At the same time, Nair's film is read in conjunction with theories of commodity circulation. Through the image of the 'traveling Barbie', this article explores the ways in which US cultural commodities may be indigenized, while also suggesting that Indians at 'home' may hardly benefit from such indigenization. Rather, Non-Resident Indians may travel from the US to India to buy a token of their own 'Americanness' in Delhi.     

Moses and nation-building Zora Neale Hurston's Moses,Man of the Mountain and Edward Said's Freud and the Non-European

Abstract

This article examines the significance of the representation of Moses as an Egyptian in Zora Neale Hurston's Moses, Man of the Mountain and Edward Said's Freud and the Non-European. Pairing Hurston and Said continues Said's project of seeing authors 'contrapuntally', so exposing imperialism as a neglected, if submerged, context for Hurston's response to nationalism in Moses. I argue that Hurston's novel cannot be read as a straightforward critique of race-based nationalism. Although Moses is of a different ethnic group to the Hebrews he leads, Hurston's portrayal of his rule is haunted by imperialism, in which one ethnic group exploits another. In this sense, Moses, Man of the Mountain bears the signs and strains of her struggle against racialist thinking.     

The transnational turn,Houston Baker's new southern studies and Patrick Neate's Twelve Bar Blues

Abstract

This article considers Houston Baker's take on the 'new southern studies' in Turning South Again (2001) in relation to the transnational turn in American studies and Paul Gilroy's theory of the 'Black Atlantic'. The article begins by pointing out that the vision of 'the South' formulated in southern (literary) studies during and after the 1950s frequently cut against the nationalism and exceptionalism central to the development of American studies in the same period. However, southern literary critics and writers (both white and black) developed their own exceptionalist and nativist models of identity, including Donald Davidson's 'autochthonous ideal' and the 'Quentissential fallacy' – in William Faulkner's Absalom, Absalom!, Quentin Compson's claim that 'you would have to be born' in the South to understand it. A transnational turn displaces such southern exceptionalism and nativism. However, Baker's 'new southern studies' approach to African-American experience (from slavery to 'United States black modernism') proceeds through a predominantly regional-national framework and privileges 'the South' and his own native southern authority. From a transnational perspective, Baker's approach becomes problematic when it facilitates the 'Quentissential' repudiation of Gilroy's Black Atlantic. The article concludes by discussing the transnational South of Patrick Neate's novel, Twelve Bar Blues, with reference to Gilroy and songs by Billie Holiday and Eric B and Rakim.     

'If we only had some of what they have' Ralph Ellison in Wales

Abstract

During his period as a merchant marine in the Second World War, the African American novelist Ralph Ellison was stationed in Swansea, Wales. His short story 'In a Strange Country', collected in Flying Home and Other Stories (1998), is based on these Welsh experiences, and there are two other unpublished Welsh-based stories among the Ellison papers at the Library of Congress: 'A Storm of Blizzard Proportions' and 'The Red Cross at Morriston, South Wales'. This article considers these stories as a basis for exploring the cultural and historical connections and correspondences between African Americans and the Welsh. In drawing inspiration from Ellison's critical writings, the article seeks to substantiate a genuinely comparative, transatlantic approach to literary and cultural texts. This approach leads to an exploration of the ways in which the diversity of the Welsh experience – manifested in language, politics and cultural practice – led Ellison to meditate in new ways on the issues of race, nationhood and identity that he would later famously address in Invisible Man.     

‘We Thought the World Was Makeable’: Scenario Planning and Postcolonial Fiction

Abstract

This essay uses Indra Sinha's 2007 novel, Animal's People, as a critical lens to analyse the discourse of scenario planning. I argue that scenario planning, a strategy of speculation about possible futures, elides history—specifically the intertwined processes of colonialism and capitalism—in favour of the idea of globalization as an inexorable unfolding of the world as a complex system. Following a brief genealogy of the discourse of scenario planning that highlights its Cold War origins, and ongoing function in imagining, and helping to secure, the future of global capitalism, I offer as counterpoint a postcolonial reading of Animal's People. A fictional exploration of the aftermath of the 1984 Union Carbide factory gas leak in Bhopal, India, the novel contests (thematically and formally) the hegemonic temporality of globalization that informs scenario planning and the model of risk management it inspires.     

Relations between Known Crime and Police Spending in Large United States Cities

Abstract

Among 130 large U.S. cities, strong support is found for Turk's (1973) view of relatione between various collective needs and subsequent supplies. That such relations reflect the availability of linkage within the city—as Turk holds they do—is strongly suggested here when per capita known violent crime and per capita police spending are seen, respectively, as measures of need and supply. The positive correlation between these two rates is always stronger among high linkage than among low linkage cities, whichever of five indices is used to measure linkage. Evidence is cited to justify viewing known violent crime as causally prior to police spending, rather than vice versa. Controlling the effects of five potentially confounding variables fails to disturb the findings.     

Sui Sin Far's American Words

Abstract

This essay offers readings of three stories from Sui Sin Far's 1912 collection Mrs. Spring Fragrance: the title story, 'The Americanizing of Pau Tsu', and '"Its Wavering Image."' Each of these stories treats an episode of romance in a multiracial society as, simultaneously, a problem of reading and of writing in a contested culture. Each turns on a quoted passage from a poem, by Tennyson, Ban Jieyu, and Longfellow, respectively. (For the latter two stories, the sources have not previously been identified in published criticism.) Analysis of Sui Sin Far's subtle and transformative engagements with literary works from several national traditions both reveals new complexities in her fiction and has the potential to revise current views of literary history.     

Cooking up: Intestinal economies and the aesthetics of specular orality

ABSTRACT

This paper aims to make a psychoanalytical contribution to a cultural studies understanding of the logics — and fantasies — of commmodity consumption in the visual culture of late capitalism. Taking up the metaphor of the gut as a discriminating organ and of cooking as a textual production, we examine the relations between oral and ocular consumption, and between aliment and excrement, as expressed in two films from the 1980s which are centred around themes of food and money. Adrian Lynne's 9½ Weeks and Peter Greenaway's The Cook, The Thief, His Wife and her Lover employ quite different aesthetics and display contrasting inflections of what we call ‘the edible complex’. The first fantasizes wealth as enabling an unstructured excess of consumption that can only end in exhaustion; the second reaffirms the structured distinctions associated with ‘quality’ in a class-divided society where wealth alone does not secure status or legitimacy. From a feminist perspective, the male characters in each text are interesting examples of masculinities not organized around the phallus, but around anal and oral eroticisms and a more primitive oral morality.     

Frank O'Hara in New York Race relations,poetic situations,postcolonial space

Abstract

Frank O'Hara's 1958 poem 'Ode: Salute to the French Negro Poets' cites 'race' as 'the poetic ground on which we rear our smiles', a phrase that points to both domestic and international contexts for reading this New York poet. At the same time, 'race' has a history of specific valences in O'Hara's work – as a focus of exoticized images of desire, aesthetic fulfillment, and social energy. Further, race, inflected through various colonial screens, becomes the central avenue leading toward O'Hara's project of rewriting the parameters of social space in poetry, a radical aestheticization not just of landscape but of social relations, with a consequent socialization of the act of writing. This article explores O'Hara's spatial poetics through the terms of Situationist theory, in which the techniques of dérive and détournement are applied to a reading of the poet's active suspension of the 'rules' of a gridded and hierarchical social order.     

Mental illness as metaphor in Hua-ling Nieh and Li-hua Yu's Chinese-language American novels

Abstract

This article focuses on two fictional immigrant characters who appear in the Chinese-language American novels Sang Ching Yu Tau Hong (Mulberry and Peach) by Hua-ling Nieh and You Jian Zong Lu, You Jian Zong Lu (Palm Trees Again, Palm Trees Again) by Li-hua Yu respectively. Both protagonists suffer from identity crises that lead to mental disorders. These disorders, resulting partly from their immigrant experience, should be read as a metaphor for the damage that can be caused by discrimination and cultural dislocation, not as a statement that immigrants are somehow inherently unbalanced. A character's slip into mental illness may occur because of the character's mistreatment and subsequent inability to adjust, but the character's mental illness may also be seen as an active resistance to assimilation and as a reaffirmation of the character's 'Chineseness'.