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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.
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American Fiction (Cord Jefferson, 2023, based on the novel Erasure by Percival Everett)
The narrative falls prey to a common screenwriting strategy that I’ll call “a condensed life” where a character experiences an unrealistic number of life changing events (or life defining, which is often why this strategy is used) in a short period of time. On his agent’s advice he goes to a Literary Festival in Boston, his hometown, where his presence is overwhelmed by the latest hot writer, Sintara Golden, and her smash hit We’s Lives in Da Ghetto (the title tells it all) (Monk faces a sort of public humiliation and an affrontery to his sense of good art). - Much to Monk’s horror (and equal measure good fortune, as it will alleviate his financial woes), Fuck wins a prestige Literary Award (on which Monk served as a juror) under the pseudonym Stagg R. Leigh (a reference to the 19th century African American murderous pimp Stagger Lee, who was immortalized in a folk song). In the next ending Monk goes to Coraline’s home to apologize for his behavior with the aim of patching up their relationship, then the camera does a cliché styled major pull out on a drone camera, taking us to an overhead shot of the city.
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.
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Editors' Preface
Together, the pieces seek to address, as the co-editors write, \"a research question, or maybe a riddle: \"What do you get when you cross model-minority racialization and rape culture?\" In ways unusual for scholarly journals, this one included, this forum includes primarily poetry, fiction, memoir, and graphic novel, as well as scholarship. Constancio Arnaldo's article, \"'We're just as good and even better than you': Asian American Female Flag Footballers and the Racial Politics of Competition,\" examines the workings of racialized gender and the Asian American feminine body in sports. Balbir Singh's article, \"'Anchorless Unknown': Reading and Feeling the Komagata Maru Beyond Repair,\" expands the notion of the archive to read feelings into a historical incident through textual analyses of two state apologies and a poem.
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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
Apology or No Apology: Indigenous Models of Subjection and Emancipation in Pakistani Women's Fiction
This survey paper focuses on Pakistani Anglophone literary narratives that examine the multiple identities of victimized women as opposed to the commonly endorsed essentialist and reductive argument that is too easily conscripted into post-9/11 global discourses surrounding women of colour. In the context of the global hegemony of Western scholarship, my purpose in this paper is to foreground the simultaneous liberation and subjection, centricity and marginality, of Pakistani women. I argue that it is important to situate third world women's subjection as well as agency in relation to the class, regional, ethnic and religious diversities that inform the degree and nature of freedom and constraints that women experience. In addition to this, urban, rural, tribal and feudal environments also inform the plurality of victimized identities as well as of women's agency. Against this backdrop, I read Pakistani literary narratives as acts of breaking through the Eurocentric monopolization of a reductive one-dimensional image of the Muslim world by emphasizing the need to situate the subjectivities of Pakistani women within community-based relationships and responsibilities, both of which have intrinsic value in Muslim culture. In so doing, I emphasize the importance of incorporating in these dominant discourses an exclusively Pakistani-Muslim feministic perspective that considers and claims pluralistic alternatives.
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Janna Thompson: Philosopher and Sleuth
Janna Thompson, feminist, social justice advocate, and internationally esteemed professor of philosophy, died on 24 June 2022, as a result of multiple brain tumours. [...]the importance of apologies for past wrongs: she observes that authorised apologies on behalf of communities have a range of notable features, but their main point is to \"signal that a nation or organization repudiates injustices of the past and is committed to just dealings with groups that were persecuted or oppressed\" (Thompson, \"Apologising,\" 2020: 1041). [...]in accordance with her lifelong commitment to social justice, the novel explores the loss of human rights and the low social status blithely assigned to older people by institutions, governments, and culture. Along with the shocking and disproportionate Covid death rate among aged care residents, the epidemic highlighted the abuse of human rights with respect to residents' loss of liberty: they were locked up in their rooms, locked away from families and friends, and locked down in unsafe environments. In her pivotal essays, Sarah Holland-Batt, an award-winning poet, academic and aged care activist,3 has damned the Federal government's failure to prepare Australia's residential aged care facilities for Covid outbreaks (September, 2020), and has exposed the immorality of current Australian society: \"We treat older people as a separate and subhuman class, frequently viewing them as a burden on their families, the community and the state\" (May, 2020).
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