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Oscillating Towards and Within the Metamodern Ghent University Faculty of Arts and Philosophy Oscillating Towards and Within the Metamodern Mark Z. Danielewski’s House of Leaves as a Transitional Novel for the New Structure of Feeling within the Contemporary Post-Postmodern Literary Debate Supervisor: Paper submitted in partial fulfillment Dr. Sarah Posman of the requirements for the degree of “Master in de Taal- en Letterkunde: Engels” by Karel Van Ooteghem August 2015 I have seen the future of fiction, and its name is Mark Z. Danielewski. —Larry McCaffery1 1 “Fiction’s Future: Words, Sentences, Quotes.” American Book Review 30.5 (2009): 9. Print. 2 Acknowledgements After four years of studying literature, I wanted my master’s dissertation to be about something that really interested me. Throughout my years as a student at Ghent University, I have developed a taste for the classic American postmodernists and more experimental literature such as Thomas Pynchon and John Barth – definitely not the easiest authors, and I am more than willing to admit that reading those works are often more an endeavour than recreation. When browsing the internet – as we all do, and which is a returning motif in this dissertation – I stumbled upon Mark Z. Danielewski’s work on the one hand and Vermeulen and Van den Akker’s ‘metamodernism’ on the other. After reading House of Leaves, I immediately realized that it might well be one of the books that will be deemed ‘classics’ or ‘turning points’ in about fifty years from now. Truth be said, I primarily recognized its literary qualities, but the work was not really one that I would put on my list of favourites. Therefore, perhaps, it was deemed suitable as a research object for my master’s dissertation – after all, the reaction to my bachelor paper (which was on W.H. Auden’s most experimental work, The Orators) I got the feedback that my appreciation for the work was too distinguishable. I realize full well that I did not pick an easy subject nor one that has much been documented upon, as it investigates a very recent theory within post-postmodernism. Still, even though I had to work through some frustration as I had to read Derrida, Heidegger and other philosophers whose writings have the digestibility of sawdust, I enjoyed writing this dissertation. First and foremost, I would like to thank my promoter, dr. Posman, who provided me access to several sources I need (Ghent University ordered Hume’s Aggressive Fictions just for my dissertation, for example) and gave me advice whenever I needed it. Furthermore, I would like to thank my parents who kept up with my very irregular writing, eating and sleeping scheme throughout a substantial of July. This dissertation was written on a strict diet of cornflakes at every hour of the day and a vast amount of absurdist and surrealistic (and, now that I think of it, extremely postmodern) animated series. 3 Table of Contents 0. Introduction ............................................................................................................................................... 4 1. Metamodernism ...................................................................................................................................... 11 1.1 Notes On Metamodernism and Metaxis ........................................................................................... 12 1.2 Metamodernism in Literature ........................................................................................................... 17 1.2.1. The New Authentic Subject ....................................................................................................... 20 1.2.2. The New Sublime ....................................................................................................................... 27 1.3. Irony and Post-Irony ......................................................................................................................... 32 1.3.1. The Postmodern Irony and the Post-Postmodern Post-Irony ................................................... 32 1.3.2. Post-Irony in Literature ............................................................................................................. 39 1.4. Metamodernism and Post-Postmodernist Studies .......................................................................... 45 2. House of Leaves ....................................................................................................................................... 50 2.1. Situating House of Leaves ................................................................................................................. 51 2.2. The Postmodern House of Leaves .................................................................................................... 55 2.2.1. Aggressive Fiction ...................................................................................................................... 55 2.2.2. Derridean Poststructuralism: Deconstruction and Trace .......................................................... 60 2.2.3. Intertextuality and Academic Discourse as Postmodern Irony ................................................. 66 2.3. The Metamodern House of Leaves ................................................................................................... 69 2.3.1. Unity: The Authentic Subject and Reading Beyond Fragmentation .......................................... 70 2.3.2. Commitment and Engagement ................................................................................................. 73 2.3.3. Intertextuality and Academic Discourse as Post-postmodern Post-irony ................................ 77 3. Conclusion ............................................................................................................................................... 80 Works cited .................................................................................................................................................. 84 Attachments ................................................................................................................................................ 95 Luke Turner – The Metamodernist Manifesto ........................................................................................ 95 26040 words 4 0. Introduction A vibrant discussion in current literary debate and theory is dedicated to the concept, or rather the question of existence and definition, of post-postmodernism. It is remarkable that the larger part of the publications that deal with the ‘what-after-postmodernism?’-question have been produced in only the last ten years, as Linda Hutcheon, an influential Canadian literary theorist already wound up her work The Politics of Postmodernism (1989) with the following conclusion: Let’s just say it: it’s over. The postmodern moment has passed, even if its discursive strategies and its ideological critique continue to live on – as do those of modernism – in our contemporary twenty-first-century world. […] historical categories like modernism and postmodernism are, after all, only heuristic labels that we create in our attempts to chart cultural changes and continuities. Post-postmodernism needs a new label of its own, and I conclude, therefore, with this challenge to readers to find it – and name it for the twenty- first century. (166) It is the very idea or feeling of ‘an end of postmodernism,’ and Hutcheon’s call for a new label, that inspired the Dutch scholars Timotheus Vermeulen and Robin Van den Akker to try to define a new cultural branch, which they call ‘metamodernism’. Other critics too have tried to answer Hutcheon’s question, such as Gilles Lipovetsky, with the concept of hypermodernism, Alan Kirby, with digi- or pseudo-modernism and Robert Samuels with automodernism. However, in their essay ‘Notes on Metamodernism’ (in which they attempt to define and defend their theory) Vermeulen and Van den Akker argue that those are merely radicalizations of postmodernism, as opposed to the re(con)structions that their theory implies (2010, 3). The philosophy of metamodernism has sparked attention in the American literary scene, as proven by the fact that the well-respected 5 literary magazine American Book Review contributed an entire issue to Vermeulen and Van den Akker’s theory in 2013. Since metamodernism tries to construe an attitude of studying arts, philosophy and politics in general, literary theory (or as they prefer to call it, story-telling) is one among many fields that is investigated by researchers with metamodernist interests. One of the novels that metamodernist literary critics claim to exhibit several of the ideas showcased in their theory is Mark Z. Danielewski’s House of Leaves (2000), an unconventional and in certain aspects experimental novel that has gathered a significant amount of interest in literary debates over the past few years. The novel’s story is told by means of multiple uses of framework writing, metafiction and several instances of visually unusual typography. What is most noteworthy in the light of metamodernism, however, is that the novel very clearly portrays a wide and thorough understanding and knowledge of not only literary history but, more importantly, of literary theory. This dissertation will, aside from outlining one of the current ‘hot topics’ in literary theory, focus on House of Leaves and the issue of the transformed return sincerity and the emergence of post-irony, which are key elements in metamodernist theory. This research would start with the following question: does literature ‘beyond the end
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