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"Stuttering Fiction."
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The Zoo at the Edge of the World
\"Marlin, a stutterer, can talk smoothly and freely with the jungle animals that populate his father's zoo in South America--until a mysterious man-eating black jaguar that his father catches and brings back home talks back\"-- Provided by publisher.
Book
Love puppies and corner kicks
Andrea is devastated when her parents announce that the family is moving to Scotland for a year-long teacher exchange program, but as she makes new friends, joins a soccer team, and her stutter improves, life does not seem so bad.
Book
Moor
It's the early 1970s and Dion Katthusen, thirteen, is growing up fatherless in a small village in northern Germany. An only child plagued with a devastating stutter, Dion is ostracized by his peers and finds solace in the company of nature, collecting dragonflies in a moor filled with myths and legends. On the precipice of adulthood, Dion begins to spill the secrets of his heart--his burning desire for faultless speech and his abiding relationship with his mother, a failed painter with secrets of her own. Even as Dion spins his story, his speech is filled with fissures and holes--much like the swampy earth that surrounds him. Nature, though so often sublime, can also be terribly cruel.
Book
'Ba! ba! Ba!': Voicing Noise
Joseph Conrad studiously introduced the living, unmediated, stammering, wheezing, and grunting voice into the written text. But how do you record the living voice in verbal format? Reading across the entirety of Conrad's fiction, I attempt the first systematic analysis of all of Conrad's seemingly unsystematic interjections and non-lexical expressions, such as the Brrroum, Pinnnng and Phooooo. The aim is to show that these prolific and seemingly trivial noise-effects are signature markers of Conrad's idiolect, and that they play a significant role in characterization, and the development of direct speech and interior monologues.
Journal Article
Lucky stars
Music entwines Kira, a thirteen-year-old singer, who hates that her father makes her perform for money on New York City subway platforms; Eugene, the class clown; and Jake, who longs to sing and to approach Kira, but feels held back by his stuttering.
Book
THE DANDIFIED DICK: HARDBOILED NOIR AND THE WILDEAN EPIGRAM
In this paper, I demonstrate the formal debt of Raymond Chandler’s hardboiled fiction to literary dandyism, a debt occurring along the axis of what I call “epigrammatic speech.” I note Chandler’s interest in the Oscar Wilde trials, from which I develop a theory of epigrammatic aggressivity drawing on Wilde’s trial transcripts and on Amanda Anderson’s work on Wilde. I look closely at Wilde’s combative deployment of the epigram as entextualized in the trial transcripts. I read Chandlerian “tough talk” as a mode of oppositional epigrammatic speech dialectically invested in the figure of the dandy. In the paper’s second half, I analyze the social content of epigrammatic tough-talk in Chandler’s first two novels, The Big Sleep and Farewell, My Lovely --each of which, not coincidentally, prominently feature dandies. Borrowing some analytic categories from Eric Lott’s Love and Theft , I tease out the contradictory modes of identification and disidentification at play in the tough-guy’s appropriation of epigrammatic speech.
Journal Article
Wildoak
Twelve-year-old Maggie's stutter causes her much heartache and only her menagerie of pets, whom she can speak with fluidly, provide her comfort, but when she finds Rumpus, an abandoned snow leopard, in a forest in Cornwall, their chance encounter will change their lives forever.
Book
STUTTERING JOYCE
Stuttering and other forms of breakdown in the smooth flow of speech occur in Joyce's work at crucial moments, notably moments of confession under the pressure of interrogation. This essay shows how Joyce uses stuttering and other \"errors\" in correct pronunciation to develop a new literary language that finds its fully achieved form in Finnegans Wake. It explores the links between Joyce's writing and contemporary psychoanalytical ideas of the \"subject\" as something which emerges out of the tension between the human as animal body and language as symbolic order. As if seeking to heal the rupture between the symbolic and the real, Joyce insists on the nature of the word as speech, on speech as bodily production, and on the body as capable of transforming language according to its own instincts. In Joyce, stuttering is more than a speech defect; it is the \"symptom\" of a new poetics of narrative fiction.
Book Chapter