San Francisco • Inspiration • January 14–15, 2017
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Ambivalence in the Fiction of Jonathan Franzen and Amitav Ghosh
Durham E-Theses The View from Somewhere: Ambivalence in The Fiction of Jonathan Franzen and Amitav Ghosh CHOU, MEGUMI,GRACE How to cite: CHOU, MEGUMI,GRACE (2019) The View from Somewhere: Ambivalence in The Fiction of Jonathan Franzen and Amitav Ghosh, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13619/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 The View from Somewhere: Ambivalence in The Fiction of Jonathan Franzen and Amitav Ghosh Megumi Grace Chou Submitted for: M.A. by Research Department of English Studies, University of Durham November 2019 Thesis Abstract This thesis seeks to understand experiential ambivalence in the later works of American novelist Jonathan Franzen (1959-) and Indian writer of English Amitav Ghosh (1956-). Both authors note that there is an uncertainty and resistance inherent to our experience of the world, as rooted in contested notions of the past. -
Purity by Jonathan Franzen
Purity . At the center of Jonathan Franzen’s new novel, “Purity,” is a young college graduate called Pip, whose full first name, -bestowed by her not-quite-sane mother, is Purity. Pip is burdened by college debt, a lack of direction and a sharp intelligence; she is also burdened by her mother, who has brought Pip up alone in a tiny cabin in the Santa Cruz Mountains and now works at the checkout in a market. Pip’s general situation in a dead-end job is not helped by her obsession with a married man who lives with his wife in the same house in Oakland as Pip and some others. When Pip meets a nice boy in a coffee shop, a guy who seems to like her, she leaves him alone in her be- droom in a. state of some sexual arousal and stays away for more than an hour while she fills in a questionnaire for a friend downstairs. She seems surprised and becomes angry when she finds a text he sends to another guy: “U can have her, if you have a taste for weird.” As Pip moves in and out of the book it may be that she is not weird enough; it appears at first that she does not have sufficient substance to hold the na- rrative. She can feel bad about herself and the world, she can be feisty, but her sensibility is not rich enough and she is too passive to make her the main character in a novel of this length. Or so it seems for the first half, befo- re the very weaknesses in her personality become essential to the novel’s progress and the reader’s interest. -
2019 AWP Conference Schedule
2019 AWP Conference Schedule Wednesday, March 27, 2019 12:00 pm to 7:00 pm W101. Conference Registration, Sponsored by Butler University MFA in Creative Writing Registration Area, Exhibit Hall A, Oregon Convention Center, Level 1 Attendees who have registered in advance, or who have yet to purchase a registration, may secure their registration materials in AWP’s registration area located in Exhibit Hall A of the Oregon Convention Center, Level 1. Please consult the bookfair map in the conference planner for location details. Students must present a valid student ID to check-in or register at our student rate. Seniors must present a valid ID to register at our senior rate. A $50 fee will be charged for all replacement registrations. 3:00 pm to 8:00 pm The Festival of Language 2505 SE 11th Ave, Portland, OR 97202 Cost: Free Url: https://www.facebook.com/events/2074858549271806/ The Festival of Language will feature over fifty rapid-fire readings of original creative works by as many authors. This event will also include reading experiments. Check out Festival of Language on Facebook for a complete list of readers. 7:00 pm to 9:00 pm Poets of Finishing Line Press Black Hat Books, 2831 NE Martin Luther King Jr. Blvd, Portland, OR 97212 Cost: Free Url: https://www.facebook.com/events/2291340177589625/ Fourteen poets recently published by Finishing Line Press and living in the Pacific Northwest will read snippets of their work. There will be wine and snacks. Readers include Heidi Seaborn, Douglas Cole, Kristin Berger, Julene T. Weaver, Don Colburn, Suzanne Sigafoos, Brittney Corrigan, Dawn Marar, Joe Soldati, Dianne Stepp, Judith Montgomery, MaryAnn L. -
MAKING SENSE of CZESLAW MILOSZ: a POET's FORMATIVE DIALOGUE with HIS TRANSNATIONAL AUDIENCES by Joanna Mazurska
MAKING SENSE OF CZESLAW MILOSZ: A POET’S FORMATIVE DIALOGUE WITH HIS TRANSNATIONAL AUDIENCES By Joanna Mazurska Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History August, 2013 Nashville, Tennessee Approved: Professor Michael Bess Professor Marci Shore Professor Helmut W. Smith Professor Frank Wcislo Professor Meike Werner To my parents, Grazyna and Piotr Mazurscy II ACKNOWLEDGEMENTS I would like to express my gratitude to the members of my Dissertation Committee: Michael Bess, Marci Shore, Helmut Smith, Frank Wcislo, and Meike Werner. Each of them has contributed enormously to my project through providing professional guidance and encouragement. It is with immense gratitude that I acknowledge the support of my mentor Professor Michael Bess, who has been for me a constant source of intellectual inspiration, and whose generosity and sense of humor has brightened my academic path from the very first day in graduate school. My thesis would have remained a dream had it not been for the institutional and financial support of my academic home - the Vanderbilt Department of History. I am grateful for the support from the Vanderbilt Graduate School Summer Research Fund, the George J. Graham Jr. Fellowship at the Robert Penn Warren Center for the Humanities, the Max Kade Center Graduate Student Research Grant, the National Program for the Development of the Humanities Grant from the Polish Ministry of Science and Higher Education, and the New York University Remarque Institute Visiting Fellowship. I wish to thank to my friends at the Vanderbilt Department of History who have kept me company on this journey with Milosz. -
Fall 2019 Newsletter
NEWS | FALL 2019 YA lit from Yaddo authors, plus fiction, art books and more GUESS WHAT– WE’RE “AT THE NERVE CENTER OF THE ART WORLD” New Rules – a few things have changed since the early ’30s Pulitzers, Grammys, and then some! Shhhh… why silence truly matters Origins of Retreat Then vs. Now IN 1900, Yaddo began with a clear idea of why and for whom it mattered. The Trasks established a “permanent Home” for creatives engaged in a “brave fight to guard and augment the Sacred Fire within and meantime earn their bread by labors prosaic and oppressive,” they wrote. Some 120 years later, crucial resources like silence, time, nature, space and financial support are in even shorter supply. World population has soared, from 1.6 billion in 1900 to 7.7 billion today. We are bombarded with noise and are losing access to nature. Of protected lands in the U.S., 63% are inundated with sounds from cars, etc. One football field of forest is lost every second. Sound-related health threats impact heart disease, high blood pressure and cognitive issues that From monasticism to the military and the arts, Cathleen Medwick arise from being too distracted to focus. ruminates on silence, solitude, and the power of refuge Financial support for artists is dwindling: The median salary for full-time writers is $20,300, reflecting a 42 percent drop since 2009. For visual artists, the ot many warriors go to battle in gauzy white gowns. But Katrina cacaphony of early twentieth-century life. Like the bells that summoned “The Last Supper,” summer residents (from left) Christine Lavin, Faith Shearin, Miguel Calderón, Jason average salary is about $20 to $30 Trask did. -
Literature and the Public Sphere in the Internet Age Daniel James South
Literature and the Public Sphere in the Internet Age Daniel James South PhD University of York English March 2019 Abstract This thesis explores the relationship between literature and the public sphere in the internet age. The introduction identifies gaps on these three topics in current academic work, and outlines the need for clarification of the links between them. The chapters go on to explicate these links with reference to the work of four contemporary authors, namely Jonathan Franzen, Dave Eggers, Zadie Smith, and David Foster Wallace. In their writing, these authors all identify different challenges to the public sphere in the internet age and, in response, ‘model’ alternative modes of being in the public sphere. These modes of being emerge from the particular formal affordances of literature, and are described here as forms of ‘literary publicness.’ The thesis situates these authors on a spectrum of discursive agency, ranging from a view of the public sphere in which writers are seen as authoritative, to a view in which reading processes are prioritised. Each chapter also addresses how these authors have themselves been considered as figures in the public sphere. As such, the story that this thesis tells both helps to clarify the role that culture plays in the public sphere, and reveals the concept of the public sphere itself as a key locus of the relationship between contemporary literature and the internet. 2 List of Contents Abstract ...................................................................................................................... -
Strained Family Relationships and Botched Careers in Jonathan Franzen’S Novels - Corrections and Purity Mrs
International Journal of English Literature and Social Sciences Vol-6, Issue-4; Jul-Aug, 2021 Journal Home Page Available: https://ijels.com/ Journal DOI: 10.22161/ijels Peer-Reviewed Journal Strained Family Relationships and Botched Careers in Jonathan Franzen’s Novels - Corrections and Purity Mrs. Jyothi Katari1, Professor P. Rajendra Karmarkar2 1PhD Scholar, Andhra University, Visakhapatnam, Andhra Pradesh, India 2Principal, College of Arts and Commerce, Andhra University, Visakhapatnam, Andhra Pradesh, India Received: 12 Jun 2021; Received in revised form: 14 Jul 2021; Accepted: 20 Jul 2021; Available online: 27 Jul 2021 ©2021 The Author(s). Published by Infogain Publication. This is an open access article under the CC BY license (https://creativecommons.org/licenses/by/4.0/). Abstract— A National Book Award writer Jonathan Franzen received extensive critical praise for the novel The Corrections focuses much on family members whose marriages are unsuccessful, strained familial relationships, and failed careers. In 2001 the novel ‘the corrections’ was at the centre of a dispute between American television talk-show hosts Oprah Winfrey, who selected it for her extensively popular book club. Franzen’s engrossment with family influences was visible in his later novel, Purity which describes a young woman whose mother always refuses to reveal her origins. Finally she joins an organization resembling Wiki leaks and becomes involved with its terrific leader. Franzen showed the troubles of Pip and how it takes away to understand the world and which is predictably extensive cast of supporting characters, to meet a sharp critique of consumerism, digital culture, and human solipsism. Keywords— Corrections and Purity, Time Magazine, Jonathan Franzen INTRODUCTION received general acclaim from book critics, and was rated On the Cover of Time Magazine from head to foot the big one of the best books of 2010 by various publications. -
Economies of Reputation: Jonathan Franzen's Purity and Practices Of
What’s Left? Marxism, Literature and Culture in the 21st Century How to Cite: Sharpe, J 2018 Economies of Reputation: Jonathan Franzen’s Purity and Practices of Disclosure in the Information Age. Open Library of Humanities, 4(1): 22, pp. 1–23, DOI: https://doi.org/10.16995/olh.240 Published: 24 April 2018 Peer Review: This article has been peer reviewed through the double-blind process of Open Library of Humanities, which is a journal published by the Open Library of Humanities. Copyright: © 2018 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Open Library of Humanities is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. Jae Sharpe, ‘Economies of Reputation: Jonathan Franzen’s Purity and Practices of Disclosure in the Information Age’ (2018) 4(1): 22 Open Library of Humanities, DOI: https://doi.org/10.16995/olh.240 WHAT’S LEFT? MARXISM, LITERATURE AND CULTURE IN THE 21ST CENTURY Economies of Reputation: Jonathan Franzen’s Purity and Practices of Disclosure in the Information Age Jae Sharpe The University of British Columbia, CA [email protected] A central project of Jonathan Franzen’s Purity (2015) is the attempt to situate the development of the Internet and of technocratic corporations within the historical context of Marxist efforts in the postwar era. -
Transatlantica, 1 | 2017 an Interview with Jonathan Franzen 2
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2017 Morphing Bodies: Strategies of Embodiment in Contemporary US Cultural Practices An Interview with Jonathan Franzen Jérémy Potier Electronic version URL: https://journals.openedition.org/transatlantica/8943 DOI: 10.4000/transatlantica.8943 ISSN: 1765-2766 Publisher Association française d'Etudes Américaines (AFEA) Electronic reference Jérémy Potier, “An Interview with Jonathan Franzen”, Transatlantica [Online], 1 | 2017, Online since 29 November 2018, connection on 20 May 2021. URL: http://journals.openedition.org/transatlantica/ 8943 ; DOI: https://doi.org/10.4000/transatlantica.8943 This text was automatically generated on 20 May 2021. Transatlantica – Revue d'études américaines est mise à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. An Interview with Jonathan Franzen 1 An Interview with Jonathan Franzen Jérémy Potier 1 Jonathan Franzen is the author of five novels—The Twenty-Seventh City (1988), Strong Motion (1992), The Corrections (2001), Freedom (2010) and Purity (2015)—as well as of a memoir, The Discomfort Zone (2006). He regularly writes essays for The New Yorker and other magazines. To date, two collections of Franzen’s essays have been published— How to Be Alone (2002) and Farther Away (2012). A third collection will be published in November 2018. In 2001, The Corrections was awarded the National Book Award and the James Tait Black Memorial Prize. The novel was also a finalist for the 2002 Pulitzer Prize, the 2001 National Book Critics Circle Award for Fiction, and the 2002 PEN/ Faulkner Award. Jonathan Franzen is a member of the American Academy of Arts and Letters, the French Ordre des Arts et des Lettres and the German Akademie der Künste. -
What's His Secret?
22 Saturday 15 August 2015 The Daily Telegraph The Daily Telegraph Saturday 15 August 2015 23 BOOKS a tramp) who claims to be his Islamic Militancy, Burke traces father, has an icky relationship The leaderless how the ideologues of terror with his mother and may or may argued first that murder in What’s his not be mad. defence of their faith was Wolf is not just Hamlet, permissible, then obligatory, then however; he’s darker and dirtier jihad positively glorious. Even a decade than that, more like Crime and or so ago, the sacrifice of civilians Punishment’s Raskolnikov in heat. was seen as a necessary evil. Now In his 20s, he earns a reputation as slaughter is embraced for secret? a dissident for writing an indelicate slaughter’s sake, even if it is of poem insulting the GDR. He is fellow Muslims. protected from the Stasi by his This global (and globalised) influential parents but at the cost of community of terrorists and them severing contact with him; he sympathisers – what Burke calls ends up living in the basement of a “the movement” – is also church, working as a counsellor for frighteningly modern. Its vulnerable adolescents. Through disparate members speak the this work he meets Annagret Robert Colvile on a new age of global terrorism same language of bloodshed and (later Pip’s recruiter). Wolf feels hate on their internet forums and for her a purity of love that he that is low-tech, homegrown and unpredictable Twitter accounts – and use hopes will allow him to escape technology not just to talk to each his sinister thoughts and general nature has changed. -
For the Fiscal Year Ending September 30, 2003 Annu Al Repor T of the Librarian of Congress
ANNUAL REPORT OF THE LIBRARIAN OF CONGRESS 2003 FOR THE FISCAL YEAR ENDING SEPTEMBER 30, 2003 ANNU AL REPOR T OF THE LIBRARIAN OF CONGRESS T OF THE LIBRARIAN www.loc.gov ANNUAL REPORT OF THE LIBRARIAN OF CONGRESS FOR THE FISCAL YEAR ENDING SEPTEMBER 30, 2003 Library of Congress Photo Credits CONTENTS Independence Avenue, SE Photographs by Architect of the Capitol Washington, DC (inside front and back covers; page ); Anne Day (front and back covers; pages , , , For the Library of Congress and ); Jim Higgins (page ); and Carol on the World Wide Web, visit Highsmith (page xiv). <www.loc.gov>. Photo Images A Letter from the Librarian of Congress v (of the Thomas Jefferson Building) The annual report is published through Library of Congress Officers and Consultants ix the Publishing Office, Front cover: Marble staircase with bronze Organization Chart x Library Services, Library of Congress, female figure by Philip Martiny, Great Hall. Washington, DC -, Inside front cover: Mosaic “History” by Library of Congress Committees xii and the Public Affairs Office, Frederick Dielman, above fireplace, south Office of the Librarian, Library of Congress, end, Members of Congress Reading Room. - Page xiv: Stucco tripod, vestibule of main Highlights of Washington, DC . Telephone () - (Publishing) entrance. Congressional Research Service or () - (Public Affairs). Page : Bronze door titled “Writing” by Olin Levi Warner; left panel “Truth” and right Copyright Office panel “Research.” Page : Clock, youths reading, and winged Managing Editor: Audrey Fischer Law Library of Congress Father Time by John Flanagan, entrance, Main Reading Room. Library Services Page : Trade mark, or printer’s mark, Copyediting: Publications Professionals LLC for firm of Valentin Kobian on wall that Office of the Librarian Indexer: Kate Mertes displays printers’ marks, south corridor. -
Indestructible Pasts and Paranoid Presents: Jonathan Frazer Against Active Forgetting in Purity
REDEN Revista Española de Estudios Norteamericanos Cristina Garrigós UNED Indestructible Pasts and Paranoid Presents: Jonathan Frazer against Active Forgetting in Purity orgetting and remembering are as inevitably linked as life F and death. Sometimes, forgetting is motivated by a biological disorder, brain damage, or it is the product of an unconscious desire derived from a traumatic event (psychological repression). But in some cases, we can motivate forgetting consciously (thought suppression). It is through the conscious repression of memories that we can find self-preservation and move forward, ABSTRACT although this means that we create a fable of our lives, as Nietzsche says in his essay “On the Uses and Disadvantages of History for Life” (1997). In Jonathan Franzen’s novel, Purity (2015), forgetting is an active and conscious process by which the characters choose to forget certain episodes of their lives to be able to construct new identities. The erased memories include murder, economical privileges derived from illegal or unethical commercial processes, or dark sexual episodes. The obsession with forgetting the past links the lives of the main characters, and structures the narrative of the novel. The motivated erasure of memories becomes, thus, a way that the characters have to survive and face the present according to a (fake) narrative that they have constructed. But is motivated forgetting possible? Can one completely suppress facts in an active way? This paper analyses the role of forgetting in Franzen’s novel in relation to the need in our contemporary society to deny, hide, or erase uncomfortable data from our historical or personal archives; the need to make disappear stories which we do not want to accept, recognize, and much less make known to the public.