DOCSLIB.ORG

Born to Be Bron: Destiny and Destinerrance in Samuel R. Delany's Trouble on Triton Author(S): Wendy Gay Pearson Source: Science Fiction Studies, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Born to Be Bron: Destiny and Destinerrance in Samuel R. Delany's Trouble on Triton Author(S): Wendy Gay Pearson Source: Science Fiction Studies, Vol SF-TH Inc Born to Be Bron: Destiny and Destinerrance in Samuel R. Delany's Trouble on Triton Author(s): Wendy Gay Pearson Source: Science Fiction Studies, Vol. 36, No. 3 (November 2009), pp. 461-477 Published by: SF-TH Inc Stable URL: http://www.jstor.org/stable/40649548 . Accessed: 22/10/2014 05:04 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. SF-TH Inc is collaborating with JSTOR to digitize, preserve and extend access to Science Fiction Studies. http://www.jstor.org This content downloaded from 131.111.184.22 on Wed, 22 Oct 2014 05:04:44 AM All use subject to JSTOR Terms and Conditions DESTINY AND DEST1NERRANCEIN TRITON 46 1 WendyGay Pearson Born to Be Bron: Destiny and Destinerrancein Samuel R. Delany's Troubleon Triton "Biologyis destiny."- anonymous "Thereare certain things that just have to be done.And when you come to them,if you're a man... youjust have to do them."- SamuelR. Delany,Trouble on Triton(241) What (Real) Men Do. Bron,the protagonist of SamuelR. Delany's Troubleon Triton(1976), has, as indicatedin myepigraph, quite strong feelings about what it is mendo and shoulddo. Of course,it is probablyappropriate to modifythis comment,which occurs at a crucialpoint in thenarrative, with Delany' s own observationthat Bron is a "hatefulman," largely because he "manufacture^] perfectlyfanciful motivations for whateveryone else is doing" in orderto rationalizehis own behavior {Trouble 312). Thequestion is, then, whether Bron' s statementabout male obligationfunctions as an ideologicalcommitment or as another fanciful motivation, this time for himself. But the answer- unsurprisingly,given the ambiguity noted in thenovel's subtitle, "An AmbiguousHeterotopia" - is thatthese rationales are inextricably imbricated with each other. Bronis an immigranttothe capital city of Tethys on Triton from the relatively conservativeworld of Mars,where he workedas a prostitutefor a clienteleof olderwomen. Bron' s storyplays out against the backdrop of a (mainlyeconomic) warof independence between the outer satellites and the inner planets (Earth and Mars), whichescalates to a singleday of violencein which70% of Earth's populationis killedwhile a smallnumber of Tritonians die as a resultof gravity fluctuationswithin Tethys' s Shield.Early in thestory, Bron meets and becomes infatuatedwith a womannamed Spike, head of a theatertroupe; given the opportunity,Bron joins a delegationto Earth,led by his housemateSam, a Tritonianpolitician, because Spike and her troupe are performing there. Bron is brieflyarrested and interrogratedby Earth police; back on Triton,Bron exaggerateshis experiencesof thegravity fluctuation into a tale of heroismin whichhe rescueshis boss, Audri,her coop mates,and theirchildren. Spike's refusalto acceptBron' s desireto be thecenter of herlife leads himto tryto remedyhis unhappinessthrough an act of heroicself-sacrifice - by pursuing genderand sexual-orientationreassignment in orderto become the kind of submissiveheterosexual woman that he himselfseeks. Ironically, he hopesin the process to insurethe survivalof the ideological principleof masculinist heterosexismhe defendsin theepigraph above. Bronmakes this statement about men having to do whathas tobe doneto his friendLawrence immediately after his sex change.As manycommentators have noted,Bron is verymuch a misfitin the polymorphously fluid social ordering that is Triton'sversion of heterotopia. Instead, he harks back to an era- onethat never This content downloaded from 131.111.184.22 on Wed, 22 Oct 2014 05:04:44 AM All use subject to JSTOR Terms and Conditions 462 SCIENCEFICTION STUDIES, VOLUME 36 (2009) existedon Tritonat all and is verymuch a nostalgicfantasy on his part- when men were men and womenwere thereto worshipand admirethem. As a heterosexualman on Triton (and it is apparentthat, on Triton, "heterosexual" does notequate to heteronormative), Bron' s misfortuneis that he desires a womanwho willadopt this position relative to his own assumption of masculinity. Lawrence, withwhom Bron lives in a non-specificall-male co-op (itslack of specificityis incontrast with co-ops that cater exclusively to heterosexuals, gay men, etc.), tells Bronthat yourprobem is ... thatessentially you are a logicalpervert, looking for a woman witha mutuallycompatible logical perversion. The fact is, the mutual perversion youare looking for is very,very rare - ifnot nonexistent. You're looking for someonewho can enjoy a certainsort of logical masochism. Ifit were just sexual, you'dhave no problem finding a partner atall. Hang them from the ceiling, burn theirnipples with matches, stick pins in their buttocks and cane them bloody! There'regaggles of women,just as thereare gaggles of men,who would be delightedto have a six-foot,blond iceberg like you around to play such games with.(212-13; emphasis in original) Havingdefined what Bron wants from a womanthrough a seriesof oxymorons ("run-around-in-circles-while-you-walk-a-straight-line")anddenounced it as the onething no womanis goingto put up with,"especially when it's outof bed and simplyhas no hopeof pleasurable feedback," Lawrence adds that it is fortunate thatBron' s "particularperversion today is extemelyrare" (213). Estimatingthat at mostone in fivethousand women would be interestedin beingthe woman Bronwants, Lawrence notes that men with Bron' s logicalperversion are perhaps one in fifty.Largely as a rhetoricalflourish for the benefitof the novel's contemporaryreader, however, Lawrence then contextualizes his commentsby addingthat this perversion's rarity in their era is "quiteamazing, considering that itonce wasjust about as commonas theability to growa beard"(213). In other words,what Bron wants is whatvirtually every heterosexual male is assumedto want(especially when the novel was written),making his desiresseem, to the contemporaryreader, indistinguishable from those of the "average Joe." GuyDavidson has commented in a veryinsightful essay that the "interrelation ofsexual identity, sexual desire, and statistics is a centralconcern of Triton" and that the multiplicityof sexual types on Tritonis both an extensionof contemporarystatistical thinking and a refusalof the(hetero)normativity that statisticsare used to justify (104).1 One ofTriton's more strikingly heterotopian aspectsis itsprofusion of genders and sexualities; combining the predilection of statisticsfor the proliferation ofcategories with Triton's insistence on rendering thesocial through logical and mathematical predictors (instanced both by Ashima Slade's modularcalculus and Bron's workas a metalogician),the result is, as Davidsonnotes, an inevitablemovement toward "the distinctively 'postmodern' fragmentationand labilityof identity"(104). Whilethis is certainlythe context in whichLawrence, an oldergay man,offers his insightsto Bron,it is also apparentthat his statisticsare not altogether accurate. If indeedone manin fifty suffersfrom Bron' s logicalperversion (that is, the desire to be a patriarchalmale withina binarysystem in whichmen are human and women are not), then Bron This content downloaded from 131.111.184.22 on Wed, 22 Oct 2014 05:04:44 AM All use subject to JSTOR Terms and Conditions DESTINYAND DESTINERRANCE IN TRITON 463 shouldhave no difficulyfinding a mateafter her sex change.Indeed, given the rarityof women like Bron, men like Bron should be flockingto her.But instead, Bronends up aloneand possibly psychotic. It is one thingto knowthat Bron' s sex changedoes not- and cannot- have its desiredresult; it is quite anotherto contemplatethis in relationto Bron's statementtoLawrence, immediately after the operation, that there are some things a manjust has to do. Indeed,one ofthe novel's major ironies is thatit is Bron's viewof what men have to do thatleads himto becomea woman- an actthat is, inhis mind, the ultimate sacrifice, since he refuses to credit women as human.His sexchange is significantlymotivated by his insistence to Lawrence that "[w]omen don'tunderstand. Faggots don't understand either" (214). Havingjust returned froma tripto Earth, with which Triton is atwar, Bron makes it very clear through his actionsthat he is at once almosthysterically emotional and somethingof a coward,thus rendering satirical his insistenceon his masculinebravery, his supposedability to do whatis necessaryfor the "survival of thespecies." His argumentwith Lawrence about what it means to be Bron(i.e., a "man"from his ownperspective and a "logicalsadist" from Lawrence's) finally prompts Bron intoa desperaterush to theclinic where he has hisphysical sex changedand his desiresrefixated (to the "female plurality configuration" [229], which is basically femaleheterosexuality). He is, in hisown mind, doing what is necessaryfor the survivalof the species - nothaving understood, either from experience or from theconversation in whichLawrence spells it out to him,that, in fact,the human speciesas Bronunderstands it no longerexists. After the operation, Bron tells Lawrence: Humanity.They used to call it"mankind." And I rememberreading once that somewomen objected to thatas too exclusive.Basically, though, it wasn't exclusiveenough!
Load more

Recommended publications
  • Introduction: the Genre of the Non-Place: Science Fiction As Critical Theory 1. for Plato's “Allegory of the Cave,” See Th
    Notes Introduction: The Genre of the Non-Place: Science Fiction as Critical Theory 1. For Plato’s “Allegory of the Cave,” see The Republic Book VII. 2. For a thorough analysis of science fiction’s origins, see Brian W. Aldiss and David Wingrove’s Trillion Year Spree: The History of Science Fiction (1986). 3. See William S. Burroughs’s Naked Lunch (1959), the Nova (Or Cut-Up) Trilogy (The Soft Machine [1961], The Ticket that Exploded [1962], and Nova Express [196 4]), The Wild Boys (1971), and the “Red Night” Trilogy (Cities of the Red Night [1981], The Place of Dead Roads [1983], and The Western Lands [1987]; Thomas Pynchon’s V (1963), Mason & Dixon (1997), and Against the Day (2006); John Barth’s Giles Goat-Boy; or, The Revised New Syllabus (1966); Don DeLillo’s White Noise (1985); Kathy Acker’s Don Quixote: Which Was a Dream (1986) and Empire of the Senseless (1988); Italo Calvino’s Cosmicomics (1965) or Invisible Cities (1972); David Foster Wallace’s Infinite Jest (1996); Mark Z. Danielewski’s House of Leaves (2000); and Jonathan Lethem’s The Fortress of Solitude (2003). 4. McHale derives this concept of “projecting worlds” from Thomas Pynchon’s The Crying of Lot 49 (1965). As Oedipa Maas begins to explore the potential existence of a secret mail system known as Tristero, she writes underneath the Tristero horn that she has copied off of a bathroom wall, “Shall I project a world?” (65). Here, Oedipa is contemplating the possible existence of an entire other pattern of reality of which she (and most of the world) remains unaware.
    [Show full text]
  • Futurist Fiction & Fantasy
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications -- Department of English English, Department of September 2006 FUTURIST FICTION & FANTASY: The Racial Establishment Gregory E. Rutledge University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/englishfacpubs Part of the English Language and Literature Commons Rutledge, Gregory E., "FUTURIST FICTION & FANTASY: The Racial Establishment" (2006). Faculty Publications -- Department of English. 27. https://digitalcommons.unl.edu/englishfacpubs/27 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications -- Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. C A L L A L O O FUTURIST FICTION & FANTASY The Racial Establishment by Gregory E. Rutledge “I don’t like movies when they don’t have no niggers in ‘em. I went to see, I went to see “Logan’s Run,” right. They had a movie of the future called “Logan’s Run.” Ain’t no niggers in it. I said, well white folks ain’t planning for us to be here. That’s why we gotta make movies. Then we[’ll] be in the pictures.” —Richard Pryor in “Black Hollywood” from Richard Pryor: Bicentennial Nigger (1976) Futurist fiction and fantasy (hereinafter referred to as “FFF”) encompasses a variety of subgenres: hard science fiction, speculative fiction, fantasy, sword-and-sorcerer fantasy, and cyberpunk.1 Unfortunately, even though nearly a century has expired since the advent of FFF, Richard Pryor’s observation and a call for action is still viable.
    [Show full text]
  • Transgression in Postwar African American Literature Kirin Wachter
    Unthinkable, Unprintable, Unspeakable: Transgression in Postwar African American Literature Kirin Wachter-Grene A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Louis Chude-Sokei, Chair Eva Cherniavsky Sonnet Retman Program Authorized to Offer Degree: English ©Copyright 2014 Kirin Wachter-Grene University of Washington Abstract Unthinkable, Unprintable, Unspeakable: Transgression in Postwar African American Literature Kirin Wachter-Grene Chair of Supervisory Committee: Professor Louis Chude-Sokei English This dissertation argues that African American literary representations of transgression, meaning boundary exploration, reveal a complex relationship between sex, desire, pleasure, race, gender, power, and subjectivity ignored or dismissed in advantageous yet constrained liberatory readings/framings. I trace transgression to confront the critical dismissal of, or lack of engagement with African American literature that does not “fit” ideologically constrained projects, such as the liberatory. The dissertation makes a unique methodological intervention into the fields of African American literary studies, gender and sexuality studies, and cultural history by applying black, queer writer and critic Samuel R. Delany’s conceptualizing of “the unspeakable” to the work of his African American contemporaries such as Iceberg Slim, Octavia Butler, Gayl Jones, Hal Bennett, and Toni Morrison. Delany theorizes the unspeakable as forms of racial and sexual knowing excessive, or unintelligible, to frameworks such as the liberatory. The unspeakable is often represented in scenes of transgressive staged sex that articulate “dangerous” practices of relation, and, as such, is deprived of a political framework through which to be critically engaged. I argue that the unspeakable can be used as an analytic allowing critics to scrutinize how, and why, much postwar African American literature has been critically neglected or flattened.
    [Show full text]
  • Samuel R. Delany Gerry Canavan Marquette University, [email protected]
    Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 1-1-2014 Far Beyond the Star Pit: Samuel R. Delany Gerry Canavan Marquette University, [email protected] Published version. "Far Beyond the Star Pit: Samuel R. Delany," in Black and Brown Planets: The Politics of Race in Science Fiction. Ed. Isiah Lavender III. Jackson MS: University Press of Mississippi, 2014: 48-64. Publisher link. © 2014 University Press of Mississippi. Used with permission. FAR BEYOND THE STAR PIT Samuel R. Delany • • • GERRY CANAVAN I am black, I have spent time in a mental hospital, and much of my adult life, for both sexual and social reasons, has been passed on society's margins. My attraction to them as subject matter for fiction, however, is not so much the desire to write autobiography, but the far more parochial desire to set mat­ ters straight where, if only one takes the evidence of the written word, all would seem confusion. -Samuel R. Delany, Tile Straits of Messina Written in 1965 and published in 1967, Samuel R. Delany's early novella "The Star Pit" presents for its reader an intergalactic narrative landscape in whkh a final, unbreakable constraint has been imposed on the ability of certain peo­ ple to achieve. Humanity has expanded off Earth into a thriving network of extrasolar colonies, only to find that travel beyond the limits of the Milky Way galaxy causes insanity and death in nearly any human being who attempts it. Only a select elite have the capacity to transcend this barrier and freely travel the wider universe, in all its unimaginable and indescribable splendor; these privileged travelers are the "goldens;' and they are objects of great jealousy for the average people of the galaxy, despite the dangers of their work, their gen­ erally unappealing personalities, and the calJous and unfeeling demeanor that arises out of their special privilege.
    [Show full text]
  • Linguistics and Fiction
    Linguistics and Fiction Most of these are from Mike Maxwell's posting to the Linguist List (19 Mar 1995). Others are from a list posted to the sci.lang newsgroup. None of the comments are mine. Browning's home page Suzette Haden Elgin. Native Tongue trilogy, including: The Native Tongue (wherein language and linguistics are prominent issues in a future society; Laadan is a language in development). Clans of linguists have become crucial because of their mediation with non-humans. Raises issues about innateness, the bioprogram, language learning, relationship between body stucture and language, as well as feminist issues), and Judas Rose. Derek Bickerton. King of the Sea. (Not exactly science fiction. But deals with human-dolphin communication. Best explanation of Bickerton's bioprogram available with a valuable dicussion also of the problems of having a meaningful relationship with a dolphin.). Arnason. A Woman of the Iron People. Vonarburg. In the Motherland. Robert Sheckley. Shall We Have a Little Talk? (for the evil Earth capitalist empire to take over a planet, they have to buy some land on the planet. A representative goes to some planet to start negotiating for a land purchase and finds that every day the language has changed, not only in vocabulary but in grammar. At one point, he exclaims "Stop agglutinating!" The inhabitants of the planet are using accelerated language change as a defense mechanism, and at the end of the story, they are communicating in identical monosyllables). David Carkeet. Double Negative (one respondent called this "a murder mystery in which a linguist uses his knowledge of child language acquisition to solve the murder"; another said it involved the human/animal boundary).
    [Show full text]
  • Winter/Spring 2008
    SEGUE READING SERIES These events are made possible, in part, with public funds from The New York State @ BOWERY POETRY CLUB Council on the Arts, a state agency. Saturdays: 4:00 p.m. - 6:00 p.m. 308 BOWERY, just north of Houston ****$6 admission goes to support the readers**** Winter/Spring 2008 The Segue Reading Series is made possible by the support of The Segue Foundation. For more information, please visit www.seg- uefoundation.com, bowerypoetry.com/midsection.htm, or call (212) 614-0505. Curators: February by Alan Davies, March by Charles Borkhuis, April-May. by Erica Kaufman and Tim Peterson. FEBRUARY FEBRUARY 2 GILBERT ADAIR and P. INMAN Gilbert Adair, who moved to NYC in 1999, founded and curated the “Sub-Voicive” reading series, London’s leading venue for experimental poetry. His pub- lications include “frog boks”, “keep the curtains the farce has ended”, “steakweasel”, and most recently “xiangren”, a collection of short, sometimes super-short poems. P. INMAN grew up on Long Island off the coast of “America”; publications include: Ocker; Red shift; criss cross; Vel; at. least.; amounts. to.; now/time; employment: retired Fed employee, currently works as a labor rep for AFSCME Council 26, 3 blocks away from the White House. FEBRUARY 9 MARTHA OATIS and LARRY PRICE Martha Oatis is the author of from Two Percept (Portable Press at Yo-Yo Labs). As well as text, drawing and sculpture are a part of her work. She is in her first year of acupuncture school and lives in Providence. Larry Price is the sometime publisher of GAZ.
    [Show full text]
  • The Interaction of Feminism(S) and Two Strands of Popular American Fiction, 1968-89
    ResearchOnline@JCU This file is part of the following reference: Kelso, Sylvia (1996) Singularities : the interaction of feminism(s) and two strands of popular American fiction, 1968-89. PhD thesis, James Cook University of North Queensland. Access to this file is available from: http://researchonline.jcu.edu.au/47036/ If you believe that this work constitutes a copyright infringement, please contact [email protected] and quote http://researchonline.jcu.edu.au/47036/ SINGULARITIES: THE INTERACTION OF FEMINISM(S) AND TWO STRANDS OF POPULAR AMERICAN FICTION, 1968-8'9 Thesis submitted by Sylvia Anne KELSO BA (Hons) (Qld) in August 1996 for the degree of Doctor of Philosophy i.n the Department of English at James. Cook University of North Queensland STATEMENT OF ACCESS I, lhe undersigned. lhe. aulhor of this tllesis, understand lh.at James Cook University of North Queensland will make it available for use within lhe University Library and. by microfilm or other photographic means. allow access to users in otber approved libraries. All users consulting this chesis will have to sign the following statemem: ·rn consulring 1his 1hesis l agree not m copy or closely paraphrase ii in whole or in pan wichout the written consent of the author; and to ma.ke proper wriuen acknowledgemem for any assiscance I have obtained from it.· Beyond chis. l do not wish to place any restriction of access cm lhis thesis. (signature) (d.ace) ABSTRACT The thesis examines how American writers in the popular genres of Female Gothic, Horror, and Science Fiction interact with strands of (mainly) American feminist thought and action, and with the cultural image of feminism(s) during the period 1968-89.
    [Show full text]
  • ON BECOMING: AFROFUTURISM, WORLDBUILDING, and EMBODIED IMAGINATION by Clayton D. Colmon Jr. a Dissertation Submitted to the F
    ON BECOMING: AFROFUTURISM, WORLDBUILDING, AND EMBODIED IMAGINATION by Clayton D. Colmon Jr. A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Spring 2020 © 2020 Clayton D. Colmon Jr. All Rights Reserved ON BECOMING: AFROFUTURISM, WORLDBUILDING, AND EMBODIED IMAGINATION by Clayton D. Colmon Jr. Approved: __________________________________________________________ John R. Ernest, Ph.D. Chair of the Department of English Literature Approved: __________________________________________________________ John Pelesko, Ph.D Dean of the College of Arts & Sciences Approved: __________________________________________________________ Douglas J. Doren, Ph.D. Interim Vice Provost for Graduate and Professional Education and Dean of the Graduate College I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ M. Jean Pfaelzer, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ A.Timothy Spaulding, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ P. Gabrielle Foreman, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy.
    [Show full text]
  • Reading Worlds Literature with Samuel R. Delany: General Information and the Worlds of Objects
    Christopher Meade Appalachian State University READING WORLDS LITERATURE WITH SAMUEL R. DELANY: GENERAL INFORMATION AND THE WORLDS OF OBJECTS Abstract: Drawing on science fiction and object-oriented ontology, this article suggests new methods for conceiving a pluralized world(s) literature, through the lens of Samuel Delaney’s decades of worlds- making narrative. Meade offers the principle of subjunctivity and of fuzzy concepts as a means for expanding the theoretical presumptions of the World Literature debate in contemporary literature, and details the ways in which Delaney offers a narrative pedagogy of worldedness that goes on the Mercatorian confines of contemporary globalization discourses. Keywords: Samuel Delaney w world literature w science fiction w object-oriented ontology w untranslatability Introduction In this article I will analyze science-fiction author and literary theorist Samuel R. Delany’s fictional practice as both worldly and other-wordly. This is only possible if one holds that many worlds exist, as Delany does. He envisions the writing and reading of fiction as a means to disorient, and thereby reorient, the reader between perceptually exclusive worlds—worlds that are “incompossible,” to use Leibnitz’s term. The Meade, Christopher. “Reading Worlds Literature with Samuel R. Delany: General Information and the Worlds of Objects.” Critical Multilingualism Studies 4:1 (2016): pp. 71–94. ISSN 2325-2871. Meade Reading Worlds Literature reoriented reader is forced, in the mutual construction of the text, to inhabit a world other than her own and, if it functions correctly, to accept it as the real world. This (other)worldly orientation, as I will show through an analysis of Delany’s theory of the paraliterary genre of science fiction, is achieved by cultivating blindness to conventional perceptions and facilitating other perceptions.
    [Show full text]
  • Lessoning Fiction: Modernist Crisis and the Pedagogy of Form
    University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2018 Lessoning Fiction: Modernist Crisis and the Pedagogy of Form Matthew Cheney University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Cheney, Matthew, "Lessoning Fiction: Modernist Crisis and the Pedagogy of Form" (2018). Doctoral Dissertations. 2387. https://scholars.unh.edu/dissertation/2387 This Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. LESSONING FICTION: MODERNIST CRISIS AND THE PEDAGOGY OF FORM BY MATTHEW CHENEY B.A., University of New Hampshire, 2001 M.A., Dartmouth College, 2007 DISSERTATION Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English May 2018 ii This dissertation has been examined and approved in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English by: Dissertation Director, Robin Hackett, Associate Professor of English Delia Konzett, Professor of English Siobhan Senier, Professor of English Rachel Trubowitz, Professor of English A. Lavelle Porter, Assistant Professor of English New York City College of Technology, City University of New York On 29 March 2018 Original approval signatures are on file with the University of New Hampshire Graduate School. iii TABLE OF CONTENTS DEDICATION iv ACKNOWLEDGEMENTS v LIST OF FIGURES ix NOTE ON PUNCTUATION AND EDITIONS CITED x ABSTRACT xiv 1.
    [Show full text]
  • FLAG, a Frequent Fanzine Published by Andy Hooper, Member Fwa, at 11032 30Th Ave
    This is issue #12 of FLAG, a frequent fanzine published by Andy Hooper, member fwa, at 11032 30th Ave. NE Seattle, WA 98125, email to [email protected]. This is a Drag Bunt Press Production. First copies mailed on January 30th, 2013. FLAG appears only in printed form, and is available for trade, graphic artwork and cartoons or letters of comment. The next issue will be out in February, 2014. Art Credits: Ray Nelson: Page 8, title. Steve Stiles: Page 1. Brad Foster: Page 6. Alexis Gilliland: Page 10. Heroic Publisher for the U.K.: Mark Plummer. Vote Brad and Cindy Foster for TAFF 2014! ------------------------------------------------------------------------------------------------------------------------------------- Do you think that I creep in the night and sleep in a phone booth? ------------------------------------------------------------------------------------------------------------------------------------- We keep the wall between us as we go: Year-end thoughts on Triton and The Dispossessed New Year’s Eve. Another brief December afternoon. I am sweeping fallen leaves and squishly little burnt-orange berries off the pathway to the front door of our house. Our lot was professionally landscaped, with the apparent objective of ensuring that some tree or tall shrub is shedding something – leaves, blossoms, cones or fruit - on to the walkway in every month of the year. I far prefer the resultant sweeping and raking to shoveling feet of wintertime snow, but I still sometimes long for a more rational front yard. It was on a day much like this a year ago that I began planning to publish issue #1 of FLAG. My reading of Jo Walton’s novel Among Others had inspired me, reminded me of some pleasures of fandom that I had neglected for years.
    [Show full text]
  • The Works of Samuel R. Delany Compiled by Laurie Lepain Kopack
    The Works of Samuel R. Delany Compiled by Laurie LePain Kopack FICTION Delany, Samuel R. Atlantis: Three Tales. Middleton, CT: Wesleyan UP, 1995. ---. Aye, Gomorrah and Other Stories. New York: Vintage, 2003. ---. Babel-17. 1966. New York, Vintage, 2001. ---. The Ballad of Beta. 1965. Boston: Greg, 1977. ---. The Bridge of Lost Desire. New York: Arbor House, 1987. ---. Captives of the Flame. New York: Ace, 1965. ---. City of a Thousand Suns. New York: Ace, 1965. ---. The Complete Nebula Award-Winning Fiction. New York: Bantam, 1986. ---. Dahlgren. 1975. New York: Vintage, 2001. ---. Distant Stars. New York: Bantam, 1981. ---. Driftglass; A Collection. New York: Doubleday, 1971. ---. Driftglass/ Starshards. New York: Grafton, 1993. ---. The Einstein Intersection. 1967. New York: Ace, 1972. ---. Empire Star. 1966. Boston: Greg, 1977. ---. Empire; A Visual Novel. Illustrations by Howard V. Chaykin. New York: Berkley, 1978. ---. Equinox. New York: Masquerade, 1994. ---. The Fall of the Towers. 1970. New York: Vintage, 2004. --- . Flight from Neveryon. New York: Bantam, 1985. ---. Hogg. Normal, IL: FC2, 1998. ---. The Jewels of Aptor. 1962. Boston: Gregg, 1976. ---. The Lines of Power. New York: Mercury , 1968. ---. The Mad Man. New York: Kasak, 1994. ---. Neveryona. 1983. Hanover: UP of New England, 1993. ---. Nova. 1968. New York: Vintage, 2002. ---. Phallos. Flint: Bamberger Books, 2004. --. Return to Neveryon. Hanover: Wesleyan UP, 1994. ---. The Star Pit. With Tango Charley and Foxtrot Romeo. By John Varley. New York: Tor,1968. ---. Stars in My Pocket Like Grains of Sands. 1984. Middleton: Wesleyan UP, 2004. ---. Tales of Neveryon. New York: Bantam, 1979. ---. They Fly at Ciron. Seattle: Incunabula, 1995. ---. The Tides of Lust. New York: Lancer, 1973.
    [Show full text]