{"title":"Ecology without Civilization","authors":"J. Dudley","doi":"10.1215/00138282-9277293","DOIUrl":"https://doi.org/10.1215/00138282-9277293","url":null,"abstract":"\u0000 While Jeff VanderMeer’s Southern Reach Trilogy has been read through the uncanny human traumas and tropes of “contamination” in its first novel, Annihilation, the trilogy’s radical ecological thought emerges more clearly through cosmic and transformative trauma in the final novel, Acceptance. Rather than some contaminated space, Area X is restoring Earth’s ecosystems to a “pristine” state, but in a process of guided succession that traumatizes human life as lived under ecologically destructive neoliberal economies of extraction. Reading the twinned falls of Saul and Control, this article shows how Acceptance reimagines uncanny trauma for a new form that is painful but also familiar, human but also posthuman, and utterly necessary for planetary survival.","PeriodicalId":43905,"journal":{"name":"ENGLISH LANGUAGE NOTES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66810719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction","authors":"Nan Goodman","doi":"10.1215/00138282-9277326","DOIUrl":"https://doi.org/10.1215/00138282-9277326","url":null,"abstract":"","PeriodicalId":43905,"journal":{"name":"ENGLISH LANGUAGE NOTES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44372418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Disaster Theory","authors":"S. Lindsay","doi":"10.1215/00138282-9277304","DOIUrl":"https://doi.org/10.1215/00138282-9277304","url":null,"abstract":"\u0000 The online community of vaporwave music is a cultural development that emerged in the 2010s and therefore fully within the ideological sphere of postindustrialism. Consisting of slowed-down samples from pop songs and advertising jingles from the 1980s and 1990s stitched together with original synthesizer pieces that resemble those used in horror-film scores, vaporwave is an undead, artificial soundscape that floats somewhere between music and sound. Its fake nostalgia for an alternative yet ossified past aims to confront our contemporary social paralysis in the face of postmillennial economic failure and political crisis. This article examines gothic elements of the vaporwave music phenomenon to analyze how vaporwave expresses sociopolitical traumas of late capitalism. Derridean notions of hauntology articulate the individual’s self-isolation and objectification under the neoliberal homogenization of culture in vaporwave artist Begotten’s contributions to the hushwave subgenre of the scene (2018–19). Vaporwave’s cyclical and uncanny sounds embody the spectral haunting of Marx in capitalism’s repetitive pronunciation of victory over its vanquished, communist foe in Sunsetcorp’s 2009 single “nobody here” and the manifestations of American political trauma after 9/11 in Cat System Corporation’s signalwave album, News at 11 (2016).","PeriodicalId":43905,"journal":{"name":"ENGLISH LANGUAGE NOTES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49209857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The War That Never Happened","authors":"Nandini Ramesh Sankar, V. Alexander","doi":"10.1215/00138282-9277249","DOIUrl":"https://doi.org/10.1215/00138282-9277249","url":null,"abstract":"\u0000 This article examines Mark Z. Danielewski’s House of Leaves (2000), a gothic novel that augments its postmodernist credentials by preemptively imagining and representing the theoretical gaze that would otherwise have been directed on itself. The article suggests that despite the novel’s intense performance of self-reflexivity, it demonstrates a traumatic suppression of its own immediate historical conditions, particularly its temporal proximity to the events of the First Gulf War. This article thus reads the text’s telling silences and its thematization of uncanny spatial violations as indexing a minimally acknowledged guilt over the war in Iraq. The novel’s slippages in self-awareness not only point to an avoidance of its own scotomized history but also foreground the shifting boundaries and dispersed locations of textual self-consciousness.","PeriodicalId":43905,"journal":{"name":"ENGLISH LANGUAGE NOTES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48867804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Black Lives Matter and Communications Technologies","authors":"Bryan Wagner","doi":"10.1215/00138282-9277348","DOIUrl":"https://doi.org/10.1215/00138282-9277348","url":null,"abstract":"I t has been often noted that the history of Black American activism from slavery to the present has been catalyzed by developments in communications technology. This has been especially true in moments of crisis when activists and intellectuals havemoved quickly to take advantage of sudden shifts in themedia environment to convey their message and organize themselves. The posters and pamphlets that detonated the British movement against the transatlantic slave trade were signal expressions of late eighteenth-century culture made possible by a new kind of printing plate produced from plaster molds. Likewise the abolitionist movement in the United States was amplified in mass-produced pamphlets and newspapers made possible by cheaper costs of steam-powered printing. The civil rights movement in the United States was expanded and strengthened by unprecedented andwidely circulated photographic evidence of atrocities committed against Black Americans, including images of Emmett Till’s corpse published in Jet magazine and news broadcasts of protestors and bystanders attacked with police dogs and fire hoses in Birmingham, Alabama. In 1991 the LA police roadside beating of Rodney King was filmedby GeorgeHolliday on a SonyHandycam, creating what many have called thefirst viral video, which set off an insurrection that remains a vital precedent for current activism against police brutality. The articles surveyed in this note take this story up to our present, considering how contemporary movements take advantage of the affordances of media and social network technologies to organize and advance their work. These movements have produced new kinds of political documentation, which are leading to new archives and new styles of analysis. Obviously there is nothing at all about these social movements that is reducible to the mediums through which they have been documented and expressed. These essays propose, however, the need to take into account how the success of these movements has been enabled in part by their ready adaptation not only to new platforms (such as Twitter and Instagram) but also to new styles of communication (such as hashtags and memes). In their wide-ranging essay “#StayWoke: The Language and Literacies of the #BlackLivesMatter Movement,” Elaine Richardson and Alice Ragland show that the “rhetorical practices” and “cultural literacies” of","PeriodicalId":43905,"journal":{"name":"ENGLISH LANGUAGE NOTES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43834099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Spanish Civil War Horror and Regional Trauma","authors":"Xavier Aldana Reyes","doi":"10.1215/00138282-9277238","DOIUrl":"https://doi.org/10.1215/00138282-9277238","url":null,"abstract":"\u0000 This article unpacks the cultural work that Juan Carlos Medina’s Insensibles, released in English as Painless, carries out in relation to Spain’s modern history and argues that the film’s painless children are an allegory of the country’s postdictatorship generations. The rendering of fascism as monstrous is less interesting than the connection of insensitivity to the Pacto del Olvido (Pact of Forgetting) and its suppression of painful memory. The fact that the children speak Catalan is a significant overlooked aspect, because Catalonia was the last region to succumb to Nationalist military forces during the Spanish Civil War (1936–39) and is known for its independentist fervor. A regionalist reading of the film does not simply connect the present and the past; it proposes that the children of the war mediate Spain’s current troubled relationship with historical trauma and act as an artistic response to centralist ideas of a unified and stable nation-state. Such a rethinking demonstrates that the horror genre continues to offer a language of anxiety capable of negotiating and contributing to debates around the importance of national accountability, war reparations, and the condemnation of genocide.","PeriodicalId":43905,"journal":{"name":"ENGLISH LANGUAGE NOTES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44796001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ghost Meat","authors":"C. Belling","doi":"10.1215/00138282-9277271","DOIUrl":"https://doi.org/10.1215/00138282-9277271","url":null,"abstract":"\u0000 The ambivalent attraction of feeling horror might explain some paradoxes regarding the consumption of representations of atrocities committed in the real world, in the past, on actual other people. How do horror fictions work in the transmission or exploitation of historical trauma? How might they function as prosthetic memories, at once disturbing and informative to readers who might otherwise not be exposed to those histories at all? What are the ethical implications of horror elicited by fictional representations of historical suffering? This article engages these questions through the reading of Mo Hayder’s 2004 novel The Devil of Nanking. Hayder exploits horror’s appeal and also—by foregrounding the acts of representation, reading, and spectatorship that generate this response—opens that process to critique. The novel may productively be understood as a work of posttraumatic fiction, both containing and exposing the concentric layers of our representational engagement with records of past atrocity. Through such a reading, a spherical rather than linear topology emerges for history itself, a structure of haunted and embodied consumption.","PeriodicalId":43905,"journal":{"name":"ENGLISH LANGUAGE NOTES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46247625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“No Man’s Ocean Ever Did Get the Best of Me”","authors":"N. Cannon","doi":"10.1215/00138282-8815027","DOIUrl":"https://doi.org/10.1215/00138282-8815027","url":null,"abstract":"\u0000 By the late 1920s steam travel was faster, more comfortable, and more affordable than ever before, and there were more shipping lines, operating more ships, than in the past. The major lines could not compete with one another in terms of cost or speed, so they wooed customers by focusing on passenger comfort, attempting to one-up each other’s luxury. It is in this context that Claude McKay wrote a novel about an African seaman who makes two miserable passages across the Atlantic—the first as a stowaway, the second in first class. This article reads McKay’s novel as a revision of the narrative of liberating and luxurious ocean travel promoted by the shipping lines and argues that Romance in Marseille offers novel possibilities and implications for maritime and oceanic studies because it asks readers to recognize overlaps between different forms of mobility and, in characteristic McKay fashion, to resist reductive interpretation.","PeriodicalId":43905,"journal":{"name":"ENGLISH LANGUAGE NOTES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45101462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Queer Romance","authors":"Eric Newman","doi":"10.1215/00138282-8814983","DOIUrl":"https://doi.org/10.1215/00138282-8814983","url":null,"abstract":"\u0000 This essay argues that the queer romances at the margins of Claude McKay’s Romance in Marseille operate as sites of possibility for a happy, egalitarian social relation that is longed for but not otherwise accessible in the novel. The essay contends that this novel, read against Home to Harlem (1928) and Banjo (1929), offers one of the most sustained, nuanced representations of queer life in McKay’s archive and in early twentieth-century LGBT literature more generally, one in which same-sex-oriented characters are rendered as normal, integral figures in urban life rather than as outré characters whose primary function is to add spice to the narrative. As the novel demonstrates the continuing appeal of queerness as a site for imagining a more liberated, loving form of social organization—one that relishes the pleasure-in-difference that is a hallmark of McKay’s writing—it also anticipates formations within the queer liberationist politics of the decades that followed.","PeriodicalId":43905,"journal":{"name":"ENGLISH LANGUAGE NOTES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46332029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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