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I V Disposable Life: the Literary Imagination and the Contemporary

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I V Disposable Life: the Literary Imagination and the Contemporary Disposable Life: The Literary Imagination and the Contemporary Novel by Calina Ciobanu Department of English Duke University Date:_______________________ Approved: ___________________________ Ranjana Khanna, Supervisor ___________________________ Nancy Armstrong ___________________________ Michael Moses ___________________________ Aarthi Vadde ___________________________ Priscilla Wald Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2015 i v ABSTRACT Disposable Life: The Literary Imagination and the Contemporary Novel by Calina Ciobanu Department of English Duke University Date:_______________________ Approved: ___________________________ Ranjana Khanna, Supervisor ___________________________ Nancy Armstrong ___________________________ Michael Moses ___________________________ Aarthi Vadde ___________________________ Priscilla Wald An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2015 Copyright by Calina Andrada Ciobanu 2015 Abstract This dissertation explores how the contemporary Anglophone novel asks its readers to imagine and respond to disposable life as it emerges in our present-day biopolitical landscape. As the project frames it, disposable life is not just life that is disposed of; it is life whose disposal is routine and unremarkable, even socially and legally sanctioned for such purposes as human consumption, scientific knowledge- production, and economic and political gain. In the novels considered, disposability is tied to excess—to the “too many” who cannot be counted, much less individuated on a case-by-case basis. This project argues that the contemporary novel forces a global readership to confront the mechanisms of devaluing life that are part of everyday existence. And while the factory-farmed animal serves as the example of disposable life par excellence, this project frames disposability as a form of normalized violence that has the power to operate across species lines to affect the human as well. Accordingly, each chapter examines the contemporary condition of disposability via a different figure of disposable life: the nonhuman (the animal in J. M. Coetzee’s The Lives of Animals and Disgrace), the replicated human (the clone in David Mitchell’s Cloud Atlas and Kazuo Ishiguro’s Never Let Me Go), the woman (in Margaret Atwood’s MaddAddam trilogy), and the postcolonial subject (the victim of industrial disaster in Indra Sinha’s Animal’s People and political violence in Michael Ondaatje’s Anil’s Ghost). Chapter by chapter, the dissertation demonstrates how the contemporary novel both exposes the logic and operations of disposability, and, by mobilizing literary techniques like intertextual play and uncanny narration, offers up a set of distinctively literary solutions to it. The dissertation argues that the contemporary novel disrupts the workings of disposability by teaching its audience to read differently—whether, for instance, by destabilizing the reader’s sense of mastery over the text or by effecting paradigm shifts iv in the ethical frameworks the reader brings to bear on the encounter with the literary work. Taken together, the novels discussed in this dissertation move their readership away from a sympathetic imagination based on the potential substitutability of the self for the other and toward a form of readerly engagement that insists on preserving the other’s irreducible difference. Ultimately, this project argues, these modes of reading bring those so-called disposable lives, which are abjected by dominant social, economic, and political frameworks, squarely back into the realm of ethical consideration. v Contents Abstract………………………………………………………………………………………......iv Acknowledgements……………………………………………………………..………….…viii 1. Introduction: A Theory of Disposability…………………………………………………...1 1.1 Thinking with the Holocaust…………………………………………………….11 1.2 “The Politics of Sight”…………………………………………………………….24 1.3 Biopolitics and the Animal……………………………………………………….29 1.4 The Limits of the Sympathetic Imagination…………………………………….37 2. Literary Animal, Disposable Animal: J. M. Coetzee’s Posthumanist Ethics…………..49 2.1 The Literary Animal………………………………………………………………53 2.2 The Disposable Animal; or, Analogizing the Holocaust……………….……...61 2.3 “Done because we are too menny”……………………………………………...66 2.4 Writing in the Tracks of Kafka…………………………………………………...73 2.5 Human, Animal, Other…………………………………………………………...79 2.6 Citing Kafka, Framing “Disgrace”………………………………………………84 2.7 Beyond Kafka: Coetzee’s “Animot”……………………………………….…….91 2.8 “Like a dog”: Coetzee’s Posthumanist Ethics…………………………….….....97 3. Tracking the Literary: Un-Staging Sympathy in Kazuo Ishiguro’s and David Mitchell’s Clone(d) Narratives………………………103 3.1 The Origins of Disposability……………………………………………………108 3.2 Tracking the Literary…………………………………………………………….119 3.3 Un-Staging Sympathy…………………………………………………………...130 3.4 Ishiguro’s Uncanny Narration………………………………………………….143 3.5 Disposability and the Return of the Repressed……………………………….155 4. After Man, Woman: Rewriting the Human in Margaret Atwood’s MaddAddam Trilogy……………………………………………..161 4.1 The Gender of Biopolitics, the (Bio)Politics of Gender………………...….….167 vi 4.2 (De)constructing Disposability………………………………………………....177 4.3 Writing Feminist Futurity……………………………………………………….181 4.4 The Literal and the Literary……………………………………………………..190 5. The Afterlife of Disposable Life in Indra Sinha’s Animal’s People and Michael Ondaatje’s Anil’s Ghost………………..198 5.1 A Chronicle of Narrative Potential Foreclosed………………………………..203 5.2 Human, Animal, Rights-Bearing Subject………………………………………212 5.3 The Case of Anil’s Ghost…………………………………………………………224 Coda………………………………………………………………………………………….…236 Works Cited……………………………………………………………………………………240 Biography…………………………………………………………………………….………...251 vii Acknowledgements I am thankful for the generous support provided by Duke University’s English Department and the Duke Graduate School, which funded my work through the James B. Duke Fellowship and the Katherine Goodman Stern Dissertation Fellowship. The Program in Women’s Studies at Duke made my final year of dissertation writing possible through a Women’s Studies Dissertation Fellowship; for that, and for the community I have found in the program, not least of all through the Graduate Scholars Colloquium, I am profoundly grateful. This project has benefitted tremendously from the kindness and encouragement that Matthew Calarco, Thomas Ferraro, Elizabeth Grosz, Kathy Psomiades, and Charlotte Sussman have shown me. R. Radhakrishnan’s engagement with my early work on Coetzee pushed me to think more deeply about what this project might become. China Medel’s generous Grad Scholars Colloquium response to my Atwood chapter has proven invaluable to my conceptualization of the project as a whole. My committee members have shaped my thinking and this project in its various incarnations. Nancy Armstrong helped me gain a solid grounding in the Victorian period—and then encouraged me to take flight by pursuing the questions that mattered to me in the field that would accommodate them. In that moment of transition, Michael Moses and Aarthi Vadde graciously helped me navigate unfamiliar waters. Priscilla Wald’s enthusiasm has been contagious, her willingness to think with, and respond to, my work invigorating. Finally, without Ranjana Khanna, this project would have no beginning, middle, or end. In Ranji, I’ve found my ideal reader: someone who sees my work not just for what it is, but for what it is (unconsciously, unwittingly) striving to become. Everything in this dissertation is so much the better for having passed through her hands; all the flaws that remain in it are my own. viii My Durham community has enlivened me over the course of the last seven years. I am so grateful to Anna Gibson for assuring me, during visiting weekend, that I wouldn’t have to learn to parallel park if I moved to Durham; for being the best host then, and the loveliest of friends after, I can’t thank her enough. To my uncanny double, Layla Aldousany, and my “English Department mentor,” Azeen Khan: silly us for not figuring it out earlier, but I’m so glad we’re friends. To the members of my cohort, and others beyond it, who have filled my time in Durham with laughter, kindness, and much joy: thank you, Lindsey Andrews, Colby Bogie, Kaila Brown, Clare Callahan, Jackie Cowan, Allison Curseen, Sarah Scarlett Downing, Ainehi Edoro, Julia Forgie, Nathan Hensley, Kevin Modestino, Greg Mulholland, Meghan O’Neil, Will Revere, Darrell Smith, Jon Stapnes, Sean Ward, Tim Wientzen, and Timothy Wright. Neptune crew, our travel (mis)adventures have sustained me. To my parents, Calin and Camelia Ciobanu, and my sister, Cosmina Ciobanu: I could not have done this without your encouragement, love, and support. My gratitude is not recompense enough, but it will have to do. Thank you. Last, but certainly not least, acknowledgements are due to my beloved Dolly monster, who saw this project through from beginning to end. She has left her tracks on each and every page. *** A substantial portion of the chapter titled “Literary Animal, Disposable Animal: J. M. Coetzee’s Posthumanist Ethics” originally appeared as an article titled “Coetzee’s Posthumanist Ethics” in Modern Fiction Studies 58.4, Winter, 2012, p. 668-698. Copyright © 2012, The Johns Hopkins University
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