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Full-Text Articles in Literature in English, Anglophone outside British Isles and North America
Dialogical Numbers: Counting Humanimal Pain In J.M. Coetzee's Elizabeth Costello, Mike Piero
Dialogical Numbers: Counting Humanimal Pain In J.M. Coetzee's Elizabeth Costello, Mike Piero
English Faculty Publications
This essay argues that J.M. Coetzee's Elizabeth Costello stages numerical sequences strategically, dialogically, and parodically in order to call attention to the ideological weight involved in counting. Focusing on how one counts - and accounts for - human and nonhuman animal pain, I contend that the repetition of numbers in the novel works to subvert the neoliberal faith put in numbers, quantification, and data. Without succumbing to some religious-mystical numerology, this reading attempts to expose the fiction involved in the act of counting and the need to pay more attention to numerical discourse in literary fiction. In tracking these numbers …
Derek Walcott: A Caribbean Life By Bruce King (Book Review), Daryl Cumber Dance
Derek Walcott: A Caribbean Life By Bruce King (Book Review), Daryl Cumber Dance
English Faculty Publications
In Another Life Derek Walcott wrote, "I had entered the house of literature as a houseboy"; Jamaican poet Mervyn Morris signified on this image in his The Pond when he declared, "And these are my rooms now." The journey that Walcott makes from "houseboy" to master/ruler/owner of the house of literature (the Nobel Laureate is frequently acclaimed the greatest poet writing in the English language) is painstakingly detailed in Bruce King's tome Derek Walcott: A Caribbean Life.
Women And Revolution In Dystopian Fiction: Nadine Gordimer's July's People And Margaret Atwood's The Handmaid's Tale, Nancy Topping Bazin
Women And Revolution In Dystopian Fiction: Nadine Gordimer's July's People And Margaret Atwood's The Handmaid's Tale, Nancy Topping Bazin
English Faculty Publications
Nadine Gordimer's July's People (1981) and Margaret Atwood's The Handmaid's Tale (1985) are both dystopias, nightmare visions of the future. Both of the worlds depicted come into being because of revolutionary coups. However, in both cases, the revolutions were in progress long before the actual takeovers, and there were opportunities for citizens to have prevented these dystopian situations from coming to pass. Yet, because changing the direction of political events requires energy, solidarity, bravery or at least some self-sacrifice, most citizens are reluctant to become involved. Nadine Gordimer and Margaret Atwood understand this attitude because they have felt that way …