| Abstrakt: |
Yet I have no grounds to grumble: Julian Murphet has written a rare book, rare in a sense that accords with Adorno's insight that history does not just touch language, but takes place in language. Murphet's work evidences, in Faulkner's work, how acutely textual sounds and sights (and sometimes smells) are recast as expressions of a bifurcated historical process, a region's uneven and combined development, caught between his preferred polarities (romance/modernity). Through the "photogenetic figure of the negative plate" (278), handled for its formal and aesthetic consequences with a theoretical suppleness and textual acuity (that here I can only reduce), Murphet bids to access "this great novel's mediatic unconscious" (271). [Extracted from the article] |
