Next week I will be presenting a paper on a panel titled “The Power of Digital Talk” at the 2017 Society for Literature, Science, and the Arts Conference at Arizona State University in Tempe, AZ, November 9-12. The abstract for the paper is below.
Thursday, November 9, Session 1 2:00-3:30pm: 1E “The Power of Digital Talk”
Chair: Julie Funk
“The Time of Megatexts: Dark Accumulation and Mark Z. Danielewski’s The Familiar,” Bradley J. Fest, Hartwick College.
“A Tech-Lover’s Discourse: Roland Barthes, Longing, Loss, and Separation Anxiety in Non-Use Discourse,” Julie Funk, University of Waterloo, Critical Media Lab.
“World Wide Walden: Toward a Thoreauvian Ethics of Screen Time,” John Tinnell, University of Colorado.
The Time of Megatexts: Dark Accumulation and Mark Z. Danielewski’s The Familiar
With the disastrous effects of rising atmospheric carbon becoming increasingly observable and the relentless pace of neoliberal capital pursuing ever-increasing profit, the twenty-first century appears to be a time of dark accumulation. Increasingly, the risks facing the overdeveloped world stem not from absence but from overwhelming presence: everywhere there is a problem of too much. And it appears that such horrifying accumulation goes for contemporary experiences of time as well. An author known, perhaps most famously, for exploring spatial and textual accumulation, Mark Z. Danielewski’s new project, The Familiar (2015–), a twenty-seven-volume serial novel in progress, turns his attention to the multiplying temporalities of the Anthropocene. From the deep time of its cosmic frame tale and the shifting temporalities of globalization experienced by its cosmopolitan characters, to its confrontation with planetarity and its bi-annual, serialized release schedule, The Familiar asks its readers to confront what it means to live in and at too many times. In this paper I will explore The Familiar as an example of what I call a megatext—an unreadably large yet concrete aesthetic and rhetorical transmedia object, produced and conceived as a singular work, and which depends upon digital technology and collaborative authorship for its production—and argue that Danielewski’s massive novel emerges from and responds to a world in which time is no longer out of joint, but overwhelmingly and catastrophically multiple.