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“I’m a I’m a Scholar at the Moment”: The Voice of the Literary Critic in the Works of American Scholar-Metafictionists

100%

Drąg W.

American, British and Canadian Studies Journal

2016

tom 26

nr 1

36-51

In her seminal book on metafiction, Patricia Waugh describes this practice as an obliteration of the distinction between “creation” and “criticism.” This article examines the interplay of the “creative” and the “critical” in five American metafictions from the late 1960s, whose authors were both fictional writers and scholars: Donald Barthelme’s Snow White, John Barth’s Lost in the Funhouse, William H. Gass’s Willie Masters’ Lonesome Wife, Robert Coover’s Pricksongs and Descants and Ronald Sukenick’s The Death of the Novel and Other Stories. The article considers the ways in which the voice of the literary critic is incorporated into each work in the form of a self-reflexive commentary. Although the ostensible principle of metafiction is to merge fiction and criticism, most of the self-conscious texts under discussion are shown to adopt a predominantly negative attitude towards the critical voices they embody – by making them sound pompous, pretentious or banal. The article concludes with a claim that the five works do not advocate a rejection of academic criticism but rather insist on its reform. Their dissatisfaction with the prescriptivism of most contemporary literary criticism is compared to Susan Sontag’s arguments in her essay “Against Interpretation.”

Dialogic, but Monologic: Toxic Masculinity Meets #MeToo in Teddy Wayne’s Campus Novel Loner

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Kowal E.

Text Matters: A Journal of Literature, Theory and Culture

2023

nr 13

376-395

Teddy Wayne’s 2016 Loner tells the story of a Harvard freshman’s sexual obsession with a fellow student, leading to stalking and attempted rape. On a deeper level, the campus novel can be interpreted as a critique of wider processes taking place in American academia and generally in the US: the mainstreaming of the so-called “woke” movement and the growing impact of “political correctness.” The novel also reflects on class inequality, privilege, gender politics, the ongoing crisis of white (heterosexual) masculinity, toxic masculinity, and online “incel culture.” The present paper will analyze the problematic “dialogic, but monologic” nature of the book’s unreliable narrative addressing the above problems. The paper’s goal will be to read Loner in light of the #MeToo movement as an illustration of the current stage of the now decades-long reckoning with rape culture, and with patriarchy.

“C’est la vie, c’est la narration”: The Reader in Christine Brooke-Rose’sTexterminationand David Lodge’sSmall World

84%

Selejan C.

American, British and Canadian Studies Journal

2016

tom 26

nr 1

52-71

This article considers two metafictional academic novels from the reader’s point of view. It argues that this critical vantage point is suggested (if not imposed) by the fictional texts themselves. The theoretical texts informing this reading pertain either to reader response or to theories of metafiction, in an attempt to uncover conceptual commonalities between the two. Apart from a thematic focus on academic conferences as pilgrimages and the advocacy of reading as an ethically valuable activity, the two novels also share a propensity for intertextuality, a blurring of the boundaries between fictional and critical discourse, as well as a questioning of the borderline between fiction and reality. The reading of fiction is paralleled to the reading of (one’s own) life and self-reflexivity emerges as crucial to both types of literacy.