I have a collaborative essay, “Coda: Writing Briefly about Really Big Things,” in Joseph A. Dane‘s new book, Begging the Question: Critical Reasoning in Chaucer Studies, Book History, and Humanistic Inquiry (Mythodologies II) (Marymount Institute Press, 2019). Though brief, it speaks to some of the ongoing concerns in my megatext project, particularly how to situate the project in the field and in conversation with others. My thanks to Dane for inviting me to collaborate with him on this and including my piece in his book.
At this year’s American Literature Association Conference in Boston, Massachusetts (May 23–26, 2019), I will be speaking on a panel discussing US Women Writers and Economic Forms, C19–C21. I have included the information on the panel and a tentative abstract for the paper I will be presenting below.
For previous essays and papers of mine on what I am calling megatexts, see:
Session 20-C : US Women Writers and Economic Forms, C19-C21 (St. George C)
1. “Protestant Work Epic: Labor, Loafing, and Form in Alcott’s Little Women Trilogy,” Schuyler J. Chapman, Glenville State College
2. “Megatextual Debris: Rachel Blau DuPlessis’s Drafts before and after 2008,” Bradley J. Fest, Hartwick College
3. “H.D. and the Entrepreneurial Imagination,” Racheal Fest, SUNY Oneonta
US Women Writers and Economic Forms, C19-C21
After the 2008 financial crisis, literary critics have turned increased attention to US economic ideologies and their complicated relationships to cultural production. This panel explores how US women writing across the tradition have responded to the changing economic conditions, discourses, and values that defined their moments. Panelists argue poets and prose writers Louisa May Alcott, Rachel Blau DuPlessis, and H.D. invent novel forms that at once challenge dominant discourses of free enterprise and disclose their patriarchal valences.
“Protestant Work Epic: Labor, Loafing, and Form in Alcott’s Little Women Trilogy”
Schuyler J. Chapman, Glenville State College
Roughly halfway into Louisa May Alcott’s Little Women, a longtime servant sends a letter to the March-family matriarch, explaining that she and the family’s four daughters have “got on very economical.” The moment underscores the narrative’s persistent attention to the financial texture of the mid-19th century. Although scholars have approached this novel and its two sequels as illustrative of period-specific perspectives on child-rearing, romance, education, and more, few have attended to the novels’ economic theories. In this series, I argue, Alcott crafts a set of consciously epic novels, reflective of both Frye’s and Lukács’s conceptualizations of the genres, as the ideal form through which she can interrogate the sources of and solutions to economic tribulations resulting from early industrial capitalism. Surveying her contemporaries, Alcott urges a return to what Weber would later identify as the Protestant Ethic, rejecting outright the malingering ethos put forth by Hawthorne, Melville, Thoreau, and Whitman. Rather than oppose an economic system that her novels represent as inherently unjust by refusing labor, Alcott proposes undermining the capitalist mode of production and its concomitant social hierarchies through a surfeit of labor, an ideal that finds itself reflected in the prolix and rather uneconomical narrative form she adopts.
“Megatextual Debris: Rachel Blau DuPlessis’s Drafts before and after 2008″
Bradley J. Fest, Hartwick College
In the twenty-first century, digital technologies have made it possible for authors to create massively unreadable works, what I call megatexts, through computational and collaborative composition. The ubiquity of texts that are quite literally too big to read appearing across media—from experimental novels and electronic literature, to television, film, and videogames—signals, as I argue elsewhere, that the megatext is an emergent form native to the era of neoliberalism. But what happens to other long forms, such as the twentieth-century long poem, when written in an era of megatextuality? Rachel Blau DuPlessis’s Drafts (6 vols.; 1987–2013) readily suggests itself as a case study for thinking through the lyric’s transformations in the era of big data and financialization. A long poem that conspicuously draws upon its modernist precursors (Pound, Zukofsky, Olson, et cetera) while disavowing at every level of its composition a patriarchal will toward totality, Drafts responds to the economic and political transformations between the end of the cold war and the 2008 financial collapse by producing a kind of fragmentary, megatextual debris. In this paper I will argue that DuPlessis, rather than simply (and futilely) resist the neoliberal logic of megatextuality, hypertrophically uses the form’s phallogocentrism against itself in order to more broadly interrogate what it means—socially, aesthetically, economically—to write a long poem in the age of hyperarchival accumulation.
“H.D. and the Entrepreneurial Imagination”
Racheal Fest, SUNY Oneonta
Although literary critics interested in neoliberal discourses usually focus on literary and economic texts composed after 1980, many neoliberal intellectuals writing in the US published their most influential theoretical works much earlier, beginning in the 1920s and 1930s. We might therefore productively reread US modernist writers with their neoliberal contemporaries in mind. When we do, I argue, familiar critical narratives about modernist understandings of the nature and function of human creativity shift. Critics often read modernist conceptions of imagination as romantic, transcendental, and incompatible with privileged materialist views of the human. Set against the entrepreneurial conceptions of culture that economists promoted in the early twentieth century, however, modernist writers seem to offer newly visible resources for oppositional projects interested in materialist representations of creativity. To give a sense of how, this paper puts the erotic view of creativity the poet and novelist H.D. develops in the fragmentary text, Notes on Thought and Vision, in conversation with the view of culture her contemporary, the Nobel-prize-winning economist Friedrich Hayek, theorized around the same time. While Hayek subsumes creativity to transcendental market logics he believes culture at its best supports, H.D. conceives imagination as an historical and embodied faculty able to influence others through the sensuous materiality of sound and image. I explore the history of these different visions and evaluate their stakes for our moment.
In Oneonta, New York on the Main Stage of the Foothills Performing Arts Center at 5 pm on December 31, 2018, I will be reading a few poems with a stellar lineup of writers from all around the Catskills. As part of the town’s First Night New Year’s Eve Celebration, Robert Bensen, Eva Davidson, Kirby Olson, Bertha Rogers, Julia Suarez Hayes, Jo Mish, and myself will be giving a reading, “Words for the New Year.”
For more information contact firstname.lastname@example.org or Julia Suarez Hayes at email@example.com.
At this year’s Modern Language Association Convention in Chicago (January 3-6, 2019), I will be speaking on a round table discussing the New Nuclear Criticism. I have included the information on the panel and a tentative abstract for the paper I will be presenting below. More information about the panel is available at kristingeorgebagdanov.com.
For previous essays of mine on nuclear criticism, see:
246. New Nuclear Criticism
Friday, January 4, 2019, 10:15 AM–11:30 AM, Hyatt Regency – Randolph 3
The panel is sponsored by the Association for the Study of Literature and Environment.
Presider: Frances Ferguson, U of Chicago
Presenters: Jada Ach, U of South Carolina, Columbia, Bradley J. Fest, Hartwick C, Jessica Hurley, U of Chicago, Kristin George Bagdanov, U of California, Davis, Kyoko Matsunaga, Kobe City U of Foreign Studies, Inna Sukhenko, U of Helsinki
Session Description: The year 2019 marks the thirty-fifth anniversary of the 1984 colloquium at Cornell University on nuclear criticism and the publication of a special issue of Diacritics collecting the Cornell papers. Do we need a new nuclear criticism? Panelists explore what a new nuclear criticism in the context of ecological crisis might look like by drawing on archives, methods, and approaches not previously included in nuclear criticism’s original manifestation.
Jacques Derrida’s “No Apocalypse, Not Now” at Thirty-Five
Abstract: 2019 will mark the thirty-fifth anniversary of the 1984 colloquium at Cornell University on nuclear criticism and the publication of a special issue of Diacritics collecting its papers. The conference occurred at a historical moment of heightened tension between the United States and the Soviet Union unseen since the chilling days of October 1962. But in the intervening years, which have seen the end of the cold war, a reduction of the US and Russia’s nuclear arsenal, a nuclear treaty with Iran, and waning cultural depictions of global nuclear war, the project of nuclear criticism has seemed less vital and, indeed, at times rather anachronistic. Though significant contributions in the ongoing discussion regarding literature of the first and second nuclear ages have been made by a new generation of scholars such as Paul K. Saint-Amour, John Canady, Daniel Cordle, Daniel Grausam, Jessica Hurley, and others (e.g., the 2013 collection, The Silence of Fallout: Nuclear Criticism in a Post-Cold War World), and nuclear criticism, for others, has been subsumed under a broader concept of risk criticism inspired by the thinking of Ulrich Beck (e.g., the work of Ursula K. Heise and Paul Crosthwaite’s collection, Criticism, Crisis, and Contemporary Narrative ), most would agree that literary and critical engagements with the threat of nuclear war have taken a back seat to more pressing global concerns, particularly the realities of climate change and the emergence of the Anthropocene as an important cross-disciplinary concept for understanding the present.
It seems apparent, however, that in the dark days since November 2016, literary and cultural theorists must once again confront the issue(s) of global (and limited) nuclear war and the cultural, political, economic, and social conditions that allow the persistence of what Elaine Scarry has called a “thermonuclear monarchy” in the US, particularly as this power now rests in such unpredictable hands. So the time is ripe to not only revisit the concept of nuclear criticism, as this panel proposes to do, but one of its most important, founding documents: Jacques Derrida’s “No Apocalypse, Not Now: Full Speed Ahead, Seven Missiles, Seven Missives” (1984).
This paper will reconsider Derrida’s seminal text in light of two major transformations. First, I will track and assess what Derrida calls the “nuclear referent,” particularly as it has found its way into twenty-first-century depictions of ecological disaster, representations I will suggest have now reinscribed themselves in the contemporary cultural imagination of nuclear war. Second, I will again take seriously “No Apocalypse, Not Now”’s emphasis on the fabulous textuality of nuclear war and its threat to the archive, particularly in light of the dissemination and proliferation of new exceptionalist national fantasies via the internet visible in “fake news” and the resurgence of US nationalism. This paper will argue that Derrida’s essay–and nuclear criticism more broadly–considered at the intersection of these two cultural transformation, might provide us with reinvigorated tools for confronting the new nuclear realities of contemporaneity.
Nuclear and Environmental
Deconstructed, “Will the US Ever Give Up Its Nukes?”
Will Steffen, et al, “Trajectories of the Earth System in the Anthropocene.”
Kim Stanley Robinson, “To Slow Down Climate Change, We Need to Take On Capitalism.”
I am beginning my second year teaching English and creative writing at Hartwick College this week. Here is the syllabus for my fall class: