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• Chronotopes of the City: Spatial Injustice and Narrative Form in Helena María Viramontes’s Their Dogs Came with Them

  Babett Rubóczki

  Views:

  343

  Combining Mikhail Bakhtin’s concept of the chronotope and Sarah Dillon’s notion of the palimpsest, the essay highlights the dialogic relationship between narrative time and space in Chicana author Helena María Viramontes’s novel, Their Dogs Came with Them (2007). Set in East Los Angeles in the 1960s and 1970s—the heyday of urban renewal projects and the rapid spread of freeways—the novel registers the geographical displacement and constrained socio-economic mobility of Mexican Americans whose homes are demolished by the freeway building bulldozers. The spatial form of intersectionality characterizing the architectural structure of the freeways also describes the narrative form of the novel. The non-linear narrative is structured upon multiple intersecting plotlines, each of which portrays the social struggles of a young Chicana woman inhabiting the city. Focusing on the interplay of environmental theme and narrative form, the paper explores the narrative representation of East Los Angeles as a spatially and temporally multilayered landscape that palimpsestously overlays and interconnects the personal memory of the characters and the collective history of Mexican Americans’ socio-political oppression in North America. (BR)

• Metaleptic Confessions: The Problematization of Fictional Truth in Paul Auster’s Invisible

  Péter Csató

  Views:

  214

  This essay focuses on Paul Auster’s novel, Invisible (2009), aiming to explore the text’s intricate metafictional dimensions, especially the deployment of metalepsis as the main organizing principle of its narrative structure. The author argues that the novel employs a subtle metaleptic narrative structure, which moves beyond the classical postmodernist phase of textual experimentation, and serves as a means of raising questions of ethical and existential relevance. Metalepsis is construed in the paper as a trope of transgression, whereby its epistemological and ontological functions are regarded as a means to an end, which is the problematization of the interrelation between narrative structure and ethical agency. The main contention of the article is that the novel’s surreptitiously deployed metaleptic structure results in the ontological destabilization of the narrative, which in turn undermines the epistemic function (truth-telling) of the act of confession, so its ethical purpose (atonement, absolution) remains unfulfilled. (PCS)

  This article is a revised version of a previously published one which originally appeared in Hungarian. See the following link: http://www.epa.hu/00000/00002/00253/pdf/EPA00002_alfold_2019_09_080-096.pdf

• Immigrant Memories of Healing: Textual and Pictorial Images in Erika Gottlieb’s Becoming My Mother’s Daughter

  Mária Palla

  Views:

  120

  Erika Gottlieb’s narrative is a transgenerational family memoir, a search for identity, and also the testimony of the protagonist Eva Steinbach, the thinly disguised authorial self, a child survivor of the Holocaust in Hungary, which provides a larger historical perspective for the personal narrative written in Canada. The satisfactory completion of the tasks involved in these three strands of Gottlieb’s life writing depends on how successfully memories can be preserved without allowing them to paralyze the remembering subject. Since these three themes are inseparable from each other, they can only result in self-understanding and healing for the author/protagonist if they evolve together. At the same time, Gottlieb’s narrative is intricately linked to her artwork, which calls for an intermedial discussion of the book to reveal how the graphic images further enhance the protagonist’s struggle to comprehend herself. While the multi-layered text is constructed in a non-linear structure, the sketches and paintings incorporated in it are employed to fulfill various functions. They serve both as illustrations of characters and locations at times, while on other occasions they are made to serve as structural devices. When describing or representing existing artwork, the text also turns into ekphrastic writing at certain points, thus multiplying the interpretative possibilities opened up and the aesthetic impressions created. (MP)

• Migrants and Disaster Subcultures in the Late Anthropocene: An Ecocritical Reading of Octavia Butler’s Parable Novels

  Éva Federmayer

  Views:

  341

  Affected by a shocking concatenation of ecological, economic, and political disasters, black, white, and multiracial characters in Octavia Butler’s Parable of the Sower (1993) and Parable of the Talents (1998) seek to cope with apparently insurmountable difficulties. These Afrofuturist Parable novels render a disintegrating US society in the 2020s-2090s, which is torn by internal and external chaos: it shows visible signs of pandemonium involving the crisis of individual, communal, and ecological survival. This ecocritical reading seeks to explore how Butler’s novels make up the fictional tapestry of an evolving human risk narrative whose anthropogenic effects on the planet might threaten an “ecological holocaust” (Charles Brown) unless fundamental green changes spur radically alternative modes of thinking and living. Throughout this paper, I am interested in how Butler’s texts address and construct the interaction of the human and the non-human world to create a storyworld in which distinct characters operate not only according to the logic of the narrative in their local places and (semi)private/communal spaces, but also as distinct configurations of the Anthropocene, that is, as agents of a larger story of humans. (EF)

• Netflix and the American Prison Film: Depictions of Incarceration and the New Prison Narrative in Ava DuVernay’s 13th (2016)

  Beatrice Melodia Festa

  Views:

  386

  The essay examines the complexities of America’s penal system through the lens of prison films and the recurrent representations of incarceration on screen. Following an introduction about America’s penal system, Mass Incarceration, and the enforcement of systemic racism through the Prison Industrial Complex, the analysis focuses on the images of confinement in movies. An overview of traditional narratives on prison is offered to highlight the main characteristics of the ambiguous and challenging genre of the prison film, while a closer look at one of its contemporary examples, Ava DuVernay’s 13^th (2016), sheds light on how the presence of Netflix and the innovative narrative strategy employed to portray the complexities of confinement represent a new form of prison film—one that abandons a Hollywoodesque approach in favor of a documentaristic strategy, and, through its distribution on Netflix, reaches its target audience. The analysis conclusively demonstrates how Netflix has changed and challenged the way we see prisons on screen, and how, as DuVernay’s docufilm shows, it has posited the tangled question of race so that the viewer can understand the functioning of the modern prison. By way of conclusion, the essay demonstrates that the new prison film, shifting toward distribution on Netflix as a mode of audience registration, clearly manifests a strategy to instruct American public opinion on race and the criminal justice system. (BMF)

• Bridging the Narrative Gap: The Ghost Narrator in Marlon James’s A Brief History of Seven Killings (2014)

  Anna Maria Tomczak

  Views:

  320

  The essay reads Marlon James’s A Brief History of Seven Killings (2014) in the context of Walter D. Mignolo’s discussion on “border thinking” and “border gnosis” in Local Histories/Global Designs: Coloniality, Subaltern Knowledges and Border Thinking (2000). Through introducing the narrative voice of Sir Arthur Jennings Marlon James creates a link between past and present, between Caribbean and European tradition of cultures of orality and literacy, and between pre- and post-colonial times, critically engaging in the erasure of thresholds of epistemological location. Specific attention is paid to Sir Arthur’s role as a “duppy” (a ghost or spirit in the religious practice of Obeah) and as a “griot” (an African/Caribbean bard and story-teller) whose function is to narrate and document local histories and guard verbal art traditions of the community. (AMT)

• “. . . ultimately alone and walking around in your own private universe”: Metatheatre and Metaphysics in Three Plays by Enda Walsh

  Clare Wallace

  Views:

  92

  This paper analyzes Enda Walsh’s three major new plays between 2006 and 2014: The Walworth Farce (2006), Penelope (2010), and Ballyturk (2014). In this period Walsh’s work shifts from being primarily linguistically oriented to becoming much more attentive to the shape and modalities of performance. Bedbound, Misterman, The Small Things, and The Walworth Farce share a focus on aberrant and confining narrative performance, but a fault line lies between The Small Things and The Walworth Farce. The frenetic pace and surreal tone of the plays remains constant; however, there is a crucial difference in emphasis between carrying on and carrying out such a performance. In this new phase in Walsh’s dramaturgy an elaboration of ritualized, repetitive, and carefully choreographed action in symbolically charged spaces is accompanied by the fragmentation of mimetic and diegetic readability. At the heart of this work is a fundamental set of anxieties. The Walworth Farce, Penelope, and Ballyturk, each in different ways, are plays about performance and performativity vis à vis creativity and death. (CW)

   

• Imagined Homeland: Inummariit as the Basis for the Concept of Inuit Nationhood

  Rita Nandori

  Views:

  126

  The Arctic is home to many distant and distinct Inuit communities and dialects. The strength of the Inuit originates in their being tethered to the same ancient narrative harkening back to common ancestral traditions, songs, and stories that characterize the Inummariit, the “real Inuk.” The wisdom of these traditions called quajimajatuqangit, or Inuit knowledge, is the key to creating nationhood among the Inuit via unikkausivut, sharing stories. This paper examines how affirming shared roots, common goals, and speaking with a united voice—the credo of the Circumpolar Council, the prime Inuit organization in the North—has helped establish an Inuit national identity for all Inuit living in several different regions and countries across the Arctic. In Canada, the creation of the semi-sovereign territory of Nunavut and the acknowledgement of the Inuit Nunangat, or homeland, have further aided the Inuit in redefining themselves. (RN)

• From Heroic Soldiers to Geometric Forms and Suffering Wrecks: The Transformation of the Male Body in the Art of World War I

  Eszter Edit Balogh

  Views:

  72

  Mechanized and trench warfare, which dominated World War I representations and made millions of soldiers suffer, challenged the rigid gender ideals and hierarchies in the Europe of the time. As the destruction of the traditional manly ideal ran parallel with the destruction of male bodies in the war, the hegemony of traditional representational modes of soldiers was also gradually replaced by more innovative strategies both in poetry and painting. The essay analyzes such works of art with a focus on the crisis of masculinity, manifested quite tangibly in new strategies and representations of visual art. Similarly to soldiers’ written reminiscences, works of visual art depict a sense of emasculation, powerlessness, physical and mental breakdown, testifying that the masculine ideal, which was in large part defined by the chivalric heroic tradition, became anachronistic and unattainable. The figure of the physically or mentally disabled, disempowered soldier as a new phenomenon gained a central position during and after World War I, questioning the validity of the old patriarchal order. Previously marginalized masculinities, for example, the masculinity of homosexual men, and traits previously associated exclusively with femininity such as sensitivity, found their way to open up the borders and shape the Modernist discourse of European masculinity, changing it once and for all. (EEB)

• The Art of Erasure: Jean-Michel Basquiat’s Olympias

  Réka M. Cristian

  Views:

  220

  This essay discusses the visual shift of race and gender representation in a selection of Jean-Michel Basquiat’s paintings. The Brooklyn graffiti artist, who was known for elevating the street energy of vernacular inscriptions into high art, reinterpreted Édouard Manet’s Olympia (1863) in Three-Quarters of Olympia Minus the Servant (1982) by erasing racial difference and challenging gender stereotypes in a work devoid of gender markers. In Untitled (Maid from Olympia) (1982), another version of the modernist painting, Basquiat places the figure of the black servant, formerly a colonized subject, in the center of the work; as a result, the servant “talks back” in a visual narrative functioning as a critique of colonization. Both paintings thus recast and reinterpret Manet’s Olympia and her world in a contemporary signification of race and gender by emphasis, or lack thereof, of such markers. (RMC)

• Experiments with Realism in Irish Language Short Stories by Daithí Ó Muirí

  Sorcha de Brún

  Views:

  138

  Relying on Joseph McMinn’s statement that the connection between realist and non-realist fiction is not a hierarchical relationship, this essay maintains that realism in Irish language fiction is, and has always been, an energizing force for experimentation. This is nowhere more evident than in the work of writer Daithí Ó Muirí (1954-), a native English speaker now residing in an Irish speaking area in Ireland. Much of Ó Muirí’s work is experimental due to his use of allegory and fantasy, yet many of the stories remain rooted in the realities of the world, particularly in his representations of masculinities and in works concerning the impact of war, violence, and displacement on men’s lives. The essay examines Ó Muirí’s first three collections, Seacht Lá na Díleann (1998), Cogaí (2002), and Uaigheanna agus Scéalta Eile (2002), in which he explores subjects that are classically realistic: war, death, religion, and relationships between men and women. The essay explores how Ó Muirí’s work often combines realism and magic realism, and shows that Ó Muirí’s fiction provides a fresh if somewhat bleak narrative of 21^st century realism in Irish language prose fiction.

• Orson Scott Card’s Speculative Fictions: Blending Science Fiction and Fantasy

  W. A. Senior

  Views:

  116

  A prolific author, Orson Scott Card has written works that encompass a range of genres including a large body of commentary, Mormon drama, science fiction, fantasy, and horror, and often melds elements of one into another. In particular, as John Clute notes, “a ‘feel’ of fantasy pervades much of his s[cience] f[iction] work.” In fictions such as Enders Game, Treason, and Wyrms, and stories like “The Originist,” his tribute to Asimov’s Second Foundation, he employs traditional elements of fantasy: its language in references to wizards, dragons, magic, and such characters as dwelfs, a portmanteau of “elf” and “dwarf”; the episodic quest narrative of escalating perils undertaken by the protagonist, who moves from isolation to community; and the conventional, often medieval, fantasyscape of fabulous forests, rivers, and mountains. Through such a strategy Card establishes a heightened significance to human experiences that both genres address, and opens another portal to the sense of wonder that informs each. (WAS)

• Geographies of Women

  Zsuzsanna Nagy-Szalóki

  Views:

  63

  Book review:

  Beebe, Kathryne, and Angela Davis, eds. Space, Place and Gendered Identities: Feminist History and the Spatial Turn. London: Routledge, 2015. x + 158 pages. ISBN 978-1-138-83049-3. Hb. £110.

• Narrating Motherhood: The Power of Storytelling

  Zsuzsanna Lénárt-Muszka

  Views:

  237

  Book review:

  Martin, BettyAnn, and Michelann Parr, eds. Writing Mothers: Narrative Acts of Care, Redemption, and Transformation. Bradford, ON: Demeter P, 2020. 258 pages. ISBN 978-1-77258-223-9. Pbk. $34.95.

• Ali Smith’s How to be Both and the Nachleben of Aby Warburg: “Neither here nor there”

  Robert Kusek

  Wojciech Szymański

  Views:

  107

  This paper offers a reading of Ali Smith’s 2014 novel, How to Be Both, in the context of Aby Warburg’s iconological interpretation of the frescoes by Francesco del Cossa in the Palazzo Schifanoia in Ferrara. Having reconstructed the story behind the creation, attribution, and reading of the frescoes, the paper argues for recognizing them as a major source of inspiration for Smith’s narrative. Furthermore, the principle of “bothness” is recognized as the novel’s foremost concern; both formal—pertaining to paratextual, graphic, and typeset solutions employed by the narrative—and thematic. With the help of Warburg’s concept of Nachleben and his proposition of traveling forms and images, How to Be Both is ultimately identified as a novel vitally indebted to Warburg’s theoretical and interpretative model. Last but not least, it testifies to the “after-life” of Warburg’s ideas. (RK, WSZ)

• Rewriting History: Narrative Resistance and Poetic Justice in Martin McDonagh’s A Very Very Very Dark Matter

  José Lanters

  Views:

  180

  Martin McDonagh’s A Very Very Very Dark Matter (2018) explores how the stories of exploited people have been written out of history. The play includes several storytellers, and it both replicates and deviates from the details of numerous existing narratives, including McDonagh’s own plays. Set in 1857, the play imagines that Hans Christian Andersen’s fairy tales were written by a pygmy woman from the Belgian Congo who has traveled back in time; Hans calls her Marjory and keeps her in a box in his attic. Eventually Marjory writes herself out of the box and departs for Africa to prevent the colonization of her people. Dark Matter compels us to question the narratives about the past that have become embedded in our culture and to uncover the facts that official accounts have altered or suppressed; rewriting history is acceptable only in imaginative storytelling, as an act of poetic justice. (JL)

• The Doctor’s Anatomy: The Androgynous Performance of Gender and (Neo-)Victorian Sexual Politics in Patricia Duncker’s James Miranda Barry

  Eszter Ureczky

  Views:

  86

  Patricia Duncker’s 1999 neo-Victorian novel is a fictional biography of the legendary Victorian military surgeon, James Miranda Barry, rumored to be a hermaphrodite. Duncker’s postmodern feminist fiction recreates the medical discourse, as well as the body and sexual politics of the Victorian era by writing these nineteenth-century somatic ideologies onto the ambiguously gendered body of Barry. Interrogating the poetic and political strategies of creating medicine as a masculinized profession from a cultural studies point of view, the essay argues that Duncker’s novel can be contextualized within a recent tendency in contemporary British fiction that could be hypothesized as medico-historical metafiction, indirectly addressing twenty-first-century biopolitical questions about the cultural inscription of gender roles and bodily normality by (re)telling a Victorian narrative. These questions are examined from three aspects: the neo-Victorian historical novel as a feminist genre, the androgyne as a late-Victorian subtype of the grotesque freak, and nineteenth-century female identities as the reservoir of disempowering pseudo-choices.  (EU)

• Littoral Space and Self-Discovery: Stanley Middleton’s Holiday, Iris Murdoch’s The Sea, The Sea, and Ian McEwan’s On Chesil Beach

  Eszter Mohácsi

  Views:

  257

  The point of departure of this essay is that seaside resort towns and hotels function as in-between, liminal spaces for visitors, while the unknown, boundless, and mysterious sea often acquires a metaphorical meaning as a symbol of monsters, madness, death, desire, and the unconscious. Thus, the liminal space of the seaside serves as an appropriate setting that facilitates self-realization. The three novels selected for study here are set in British seaside towns in the 1960s-1970s, and present their respective protagonists’ struggle with their past memories and traumas.
  In Ian McEwan’s On Chesil Beach (2007), the newlyweds get a chance of self-understanding, however, they fail at communicating their fears and desires. Ultimately, the seaside remains a symbol of misunderstandings and trauma as well as the dividing line between the times before and after the sexual revolution of the 1960s. By contrast, the protagonists in Stanley Middleton’s novel, Holiday (1974), and Iris Murdoch’s The Sea, The Sea (1978) achieve self-awareness through either a time-travel that allows for re-living the past or a journey to the unconscious, respectively. Nevertheless, these novels also end on an ambiguous tone, and the question whether real self-understanding has been attained remains open. (EM)

• Editor's Notes

  Lenke Németh

  Views:

  43

  Editor's Notes

• Telling the Untellable: Trauma and Sexuality in Big Little Lies

  Zsófia O. Réti

  Views:

  589

  The problem of sexual violence, including rape, domestic assault, sexual harassment, and molestation has recently become a topical issue both in public discourse and popular culture. The unspoken individual traumas have found their way to the world of TV series, such as HBO’s mini-series Big Little Lies. The essay explores the unique ways in which the television series treats sexuality and personal traumas. It argues that while by no means can it be regarded as a soap opera, Big Little Lies occasionally uses and rewrites the genre-specific codes of this traditionally low-prestige television genre intended for women to alter the representation of individual traumas in popular culture. The use of flashbacks and involuntary repetition as narrative elements along with the retrospective framework of a criminal investigation make the serial form much suited to examine individual traumas. The television series attempts the almost impossible: to speak of the trauma’s unspeakability, and simultaneously it seeks to maintain its high viewership. (ZsOR)

• “Close your eyes. Picture a character. . .”: A Route to Imagery and Creativity

  Lenke Németh

  Views:

  50

  Book review:

  García-Romero, Anne. The Fornes Frame: Contemporary Latina Playwrights and the Legacy of Maria Irene Fornes. Tucson: U of Arizona P, 2016. xiii + 240 pages. ISBN 978-0816531448. Pbk. $24.95.

• The Architecture of the Self

  Zsuzsanna Nagy-Szalóki

  Views:

  50

  Book review:

  Ng, Andrew Hock Soon. Women and Domestic Space in Contemporary Gothic Narratives: The House as Subject. Basingstroke: Palgrave Macmillan, 2015. xiii + 246 pages. ISBN 978-1-137-53681-5. Hb. $90.

• “Life Is a Terminal Illness”: The War against Time and Aging in David Mitchell’s The Bone Clocks

  Noémi Albert

  Views:

  159

  David Mitchell’s The Bone Clocks (2014) centers on Holly Sykes, the main character whom the novel follows from her youth into old age, thus witnessing the major events of a lifetime through her. This recounting serves as the traditional plotline that is intertwined with a fantastic story of two warring organizations of quasiimmortals and a narrative of climate change that ultimately leads to “Endarkenment,” the environmental catastrophe that hits the globe in Holly’s lifetime. These three distinct stories converge on the novel’s protagonist, through whom the reader encounters questions about aging, time, and mortality. The war between two atemporal factions, the Horologists and the Anchorites in particular, sheds light on humankind’s aspirations for immortality and focuses on present society’s conceptualization of old age. The paper analyzes these three distinct but tightly connected issues for a complex view both on the aging process itself and on society’s reaction and relation to it, that is, ageism. Mitchell’s novel—fantastic and realistic at the same time—becomes an intricate statement about aging, one of the most pressing issues facing humankind. (NA)

• Hungarian Narrato-Rhetorheme in an American Novel: Harry Houdini in E. L. Doctorow’s Ragtime

  Zoltán Abádi-Nagy

  Views:

  149

  The escape artist of Doctorow’s Ragtime is in close relationship with each transposed and fictitious character through an aspectual transmission system of character-motivation. The variegated and diverging perceptual and cognitive processes of the numerous characters may reveal a centrifugal system of storyworlds, but the multiform manifestations of being shackled and the desire to escape do meet in the anchoring image of the shackled Harry Houdini and his escape bravura. So Doctorow’s Houdini will be studied here as an aspectual coordinate of the novel.

  On the other hand, the mentality emanating from the escape artist’s narrative function of aspectual coordination and the other characters’ positional predicaments and motivational concerns that reflect the same mentality, jointly perform the rhetorical role of suasion. Thus, Ragtime’s Houdini can be subjected to a narrato-rhetorical investigation. I propose that he is a hermeneutically coded cultural narrato-rhetorheme in the novel and the source of further narrato-rhetorhemes of storyworlds that come under his semantic sway. (I introduced the notion of the “cultural narrato-rhetorheme” in a former HJEAS issue [2014/1]). The book’s transposed Houdini is both an overt cultural narrato-rhetorheme (he is present in the narratorial discourse: the narrator actually meets him) and a covert one (embedded in the storyworld). The notions of “repeating,” “factoid,” “contextual,” “assimilative,” and “enthymematic” narrato-rhetorheme will also be introduced as descriptive of Houdini’s manifold narrato-rhetorical roles.

  Ragtime’s epistemological tandem (the narrator[s] and Houdini) makes it unequivocal that the modality of the narratorial domain is epistemic. This also sets the escape artist into the novel’s focus; as does the book’s lead (deontic) modality, through the African American ragtime pianist’s defiance of racist cultural prohibition. (ZAN)

• J. M. Coetzee, the Craftsman

  Ottilia Veres

  Views:

  41

  Book review:

  Attwell, David. J. M. Coetzee and the Life of Writing: Face-to-Face with Time. New York: Viking, 2015. xxiii + 248 pages. ISBN 978-0-525-42961-6. Pbk. $27.95.