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"Apologies Fiction."
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Misunderstood Shark : friends don't eat friends
Bob, host of Underwater World with Bob, is furious with Shark, not only because Shark ate him (admittedly bad manners), but because Shark will not even admit what he did; the ocean may not be big enough for both of them--unless Shark faces up to his bad behavior, stops sulking (and eating the animals on the program, and maybe barfing up his stomach) and apologizes.
Book
Creative Think Piece: With Apologies: W. E. B. Du Bois's \Comet\ and the Story Ray Bradbury Should Have Told but Couldn't
In Locke's text, he argues that the divine right of sovereignty and dominion was not granted just to the king, but to all descendants of Adam, which includes all those human beings of the same species and rank, which one can read specifically as race: Yet, alongside this declaration-one that would be an inspiration for the Declaration of Independence and the founding of the United States of America-was the looming presence of the trans-Atlantic Human Trade (in which Locke was a pivotal figure and a principal investor) and the irony inherent in the Declaration itself: a document which critiqued the king of England for usurping the rights of those colonialists-the right, they claimed, to the labor and the profits of the enslaved persons working the lands. Science fiction emerges to engage this world, if only obliquely-that is, analyzing and critiquing the world by escaping the world, using metaphor, irony, and satire to create an objective distance to think through the relationship between the subject/citizen and the changing world, to deal with the growing paradoxes of freedom and work, and the shifting social realities of the collapsing of the monarchies and the rise of liberal democracy. Jim can thank his race for both his social death and his new lease on life.
Journal Article
After Sidney and Before Wroth: Harington's English Orlando and Christendom
John Harington’s English Orlando is both a translation and a new heroic fiction belonging to the cultural moment of its making. It pursues a recognizably Sidneian end, the imaginary restoration of Christendom, and anticipates Mary Wroth’s engagement with Sidney family politics and piety in her Urania. My argument begins by showing that Harington encouraged the present-tense reading of the English Orlando undertaken here in an allegoresis of his own Orlando in his Tract on the Succession (1602), written a decade later to support James VI’s claims to the throne. In my essay’s second part, I argue that Harington’s post-Reformation politics shaped a poetics at once indebted to Sidney’s in its moral and religious earnestness and importantly different in its pragmatic attunement to the present-tense “uses” of fiction-making. The argument’s main focus turns then to clarifying the impact of Harington’s post-Reformation politics on the English Orlando’s fiction-making, first by exploring its provision of a hospitable world for readers of every confessional variety, and second by pursuing its narrative designs to fill the empty space of Christendom’s loss. While those goals recall Sidney’s politics of Christendom, they are important anticipations of the closeted, aconfessional piety of Wroth’s Urania and her fascination with imperial and world harmony. In short, Harington’s Orlando points to new continuities in the Sidney family history that merit further exploration.
Journal Article
Remaking Contact in That Deadman Dance: Australian Reconciliation Politics, Noongar Welcoming Protocol, and Makarrata
In this article, I make the case for Noongar novelist Kim Scott's That Deadman Dance (2010) to be seen as an exemplar of Aboriginal-centered literary imaginings of reconciliation based primarily on adherence to traditional Laws rather than the state's limited recognition of native title. The novel decenters settler contact narratives through its depiction of Noongar welcoming protocols, thus affirming pre-colonial Aboriginal sovereignty. Furthermore, I contend that, through the novel's culminating scene in which settlers fail to understand protagonist Bobby Wabalanginy's ceremonial dance, which calls for justice through truth-telling and peace-making, Scott narrativizes the settler nation's inability to understand or accept terms of apology, forgiveness, and reconciliation derived from Indigenous cultural and political beliefs. Recognizing That Deadman Dance is not merely historical fiction but a novel about remaking contact draws attention to the all-too-frequently superficial performativity of settler-centric reconciliation politics and calls for narratives that do more than just meditate on settler guilt and complicity.
Journal Article
Truth Unreconciled: Counter-Dreaming in Jeff Barnaby’s Rhymes for Young Ghouls
In Barnaby’s film, however, it is not only a matter of such a slippage between the categories of “the real and the imaginary, the physical and the mental, the objective and the subjective, description and narration, the actual and the virtual...,” but a very real conflict over which dream reality will become entangled with. In 2008, forced by the largest class-action lawsuit in Canadian history to address the legacy of the residential school system, the Canadian government established the TRC. The underlying assumption seems to be that respect is at last to be extended to Indigenous communities, while the respect owed to Euro-Christian Canadian society is both presupposed and reaffirmed in this persistent refrain of mutuality. The rational dialogue between mutually respectful actors, feels particularly perilous when, for example, among the voices of the survivors, appears the exculpatory language of good “intent” deployed by Reverend Doug Crosby: “Recognizing that within every sincere apology there is implicit the promise of conversion to a new way of acting, we, the Oblates of Canada, wish to pledge ourselves to a renewed relationship with Native peoples which, while very much in line with the sincerity and intent of our past relationship, seeks to move beyond past mistakes to a new level of respect and mutuality.”
Journal Article
The End of Carnivalism, or The Making of the Corpus Lucianeum
In a key passage for the understanding of Lucian’s work, the Fisherman 25– 27, the philosopher Diogenes of Sinope complains that Parrhesiades, a Lucian-like authorial figure, mocks philosophers not within the fixed boundaries of a carnivalesque festival, as Old Comedy used to do, and to which Lucian’s work is otherwise highly indebted, but by means of his constantly published writings. This statement is even more relevant, since the Fisherman belongs to a group of texts which show clear cross-references to other writings within the corpus (such as Essays in Portraiture Defended, Apology , and The Runaways ). By creating indirect authorial commentaries and intratextual references throughout his œuvre—a hidden (auto)biobibliography, as it were—, Lucian thus reinforces the idea of an organic literary work and the coherency of his corpus which is—notwithstanding its thematic variatio —well-publicized and far away from carnivalesque exceptionality. In this way, the aesthetics of perpetual transgression is in a unique way related to the construction of authorial self-referentiality in Lucian’s satires.
Journal Article