If you attended the virtual 2021 Modern Language Association Conference but were unable to come to the roundtable I organized, Twenty-First-Century Forms, you can watch a recording of it here (I believe for about six weeks). The speakers were (in order): myself, Amy Sara Carroll, Racheal Fest, Christian P. Haines, Hyemin Kim, and Eric Loy. For more information, see my previous post.
Politics, Economics, and Trump
Jonathan Martin and Alexander Burns, “Biden Wins Presidency, Ending Four Tumultuous Years Under Trump.”
Daniel Strauss and Lauren Gambino, “Kamala Harris Makes History as First Woman of Color Elected US Vice President.”
For this year’s Modern Language Association Convention, to be held virtually from January 7–10, 2021, I organized and will be speaking on a roundtable on Twenty-First-Century Forms, along with Amy Sara Carroll, Racheal Fest, Christian P. Haines, Hyemin Kim, and Eric Loy. I have included the information about the panel and, below that, full abstracts from each speaker.
181. Twenty-First-Century Forms
Thursday, January 7, 2020, 7:00 – 8:15 p.m. (EST)
If the novel and lyric poem have become residual forms, what literary forms are emerging in contemporaneity? Participants explore emergent literary forms of the twenty-first century and their relationship with, instantiation in, or remediation by other (digital) media: film, television, video, graphic narrative, video games, transmedia, or other hybrid, novel, or megatextual forms.
Amy Sara Carroll (U of California, San Diego)
Bradley Fest (Hartwick C)
Racheal Fest (State U of New York, Oneonta)
Christian Haines (Penn State U, University Park)
Hyemin Kim (Baruch C, City U of New York)
Eric Loy (U of Rochester)
Bradley Fest (Hartwick C)
Update: Deadline Extended until March 29, 2020.
Given my ongoing interest in megatexts and other emerging hybrid and transmedia forms, I am organizing a panel on emergent literary forms of the twenty-first-century for the 2021 Modern Language Association Convention in Toronto, Ontario. Please consider submitting an abstract to festb[at]hartwick[dot]edu.
At this year’s Modern Language Association Convention in Seattle (January 9-12, 2020), I will be speaking on a round table discussing Bad Books. I have included the information about the panel and a tentative abstract for the paper I will be presenting below.
338. Bad Books
Friday, January 10, 2020, 1:45-3:00 pm, 617 (WSCC)
Presiding: Eric Loy
1. “Notes on Notes on Notes: Glenn Ligon Reads James Baldwin,” Paul Benzon (Skidmore C)
2. “Books Behaving Badly: The Raison d’Être behind Perec’s La Disparition,” Priya Wadhera (Adelphi U)
3. “Debilitated Forms and Forms of Debility: On Writing a Failed Book,” Sharon Tran (U of Maryland Baltimore County)
4. “The Space of Megatexts: ‘Reading’ Mark Leach’s Marienbad My Love,” Bradley J. Fest (Hartwick C)
The Space of Megatexts: “Reading” Mark Leach’s Marienbad My Love
At over seventeen million words and consisting of seventeen volumes printed in dense eight-point font, the second edition of Mark Leach’s Marienbad My Love (2008; 2nd ed., 2013) currently holds the record as the world’s longest novel and is what I have elsewhere called a megatext. Composed over the course of thirty years using a number of digital techniques, the result is one of the more spatially imposing works of literature to ever sit on a shelf. Because of this, it also appears that no one has really bothered to read it. Whether this is due to some prejudice against self-publication or critics’ perceptions of authorial vanity, the sheer unreadable size of the text has discouraged anyone from taking Leach’s work all that seriously. I believe this is a mistake and this paper aims to seriously consider a remarkable project that rebelliously pushes against the conceptual, temporal, and physical boundaries of the codex novel. The revisions made to the second edition of the text indicate that not only does Leach intend for people to actually read his book, but also that Marienbad My Love is in fact a complex theoretical statement about the novel in the digital age and a meditation on the present and future of literary writing. In this paper, I will argue that accounting for Marienbad My Love’s material size by finding ways to speculatively (and actually) read this unreadable text will encourage us to rethink how we theorize the novel in the twenty-first century.
For previous essays of mine on megatexts and unreadable texts, see:
I had the privilege of meeting Richard Siken when I was quite young–an undergraduate at the University of Arizona–and he gave me lots of good advice on the poetry world (and life), conversations I still cherish. Please help him out.
Nuclear and Environmental
Alenka Zupančič, “The Apocalypse Is (Still) Disappointing.”
James Livingston, “Time, Dread, Apocalypse Now.
Ted Nordhaus, “The Empty Radicalism of the Climate Apocalypse.”
Jessica Hurley and Dan Sinykin, eds., Apocalypse, special issue of ASAP/Journal.
Damian Carrington, “Why The Guardian Is Changing the Language It Uses about the Environment.”
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.