MA in Modern and Contemporary Literature and Culture

2015-16

CORE MODULE: READING MODERNITY

AUTUMN TERM
Convenor: Dr Richard Walsh
Email: richard.walsh@york.ac.uk
Office No. D/J/106; Phone Ext. 3338
This module addresses some of the major literary trends and cultural debates of
modern and contemporary times. It considers the different ways that modernity
has been understood whether it be as a period or as a particular constellation of
values or some combination of both and focuses on the multiple art-forms and
theories of art this yielded. We will proceed in a loose chronological fashion,
examining a broad swathe of writers, genres and intellectual disciplines. The aim is
not to provide an exhaustive survey, but to focus on some salient or representative
moments of recent cultural history that will allow you to make informed choices
about more specialised options of study. The module is conducted through
seminars, offering a broad variety of teaching styles and critical approaches. For each
seminar there is core reading which is compulsory preparation, and also a selection of
further reading which you are encouraged to sample as widely as possible.
THE TERM AT A GLANCE
Week 1:
Week 2:
Week 3:
Week 4:
Week 5:
Week 6:
Week 7:
Week 8:
Week 9:
Week 10:

Introductory Meeting (Richard Walsh)

Poetic and Visual Modernism (Hugh Haughton)
Joyces Ulysses (Lawrence Rainey)
The Ghosts of Eliot and Yeats (Matt Campbell)
Utopian Longings (Emilie Morin)
Reading Week
Becketts Voices (James Williams)
Formalism and Fiction Since 1950 (Richard Walsh)
Thatcherism, Neoliberalism and Resources (Claire Westall)
Signifying Katrina (Bryan Radley)

With the exception of Week 1, all seminars meet on Mondays at 3pm in G/013.

2) Poetic and Visual Modernism

Hugh Haughton
Virginia Woolf said human nature changed in 1910, referring to the impact of the
Post-Impressionist exhibition in London on British culture. A comparable literary
revolution occurred in American writing in the wake of the exhibition of modern
European art at the Armory Show in New York in 1913. Likewise Wyndham Lewiss
magazine BLAST!, published in London in 1914 and 1915, brought together
innovative pictorial art-work by Lewis and Gaudier-Brzeska and the poetry of T.S.
Eliot and Ezra Pound.
In 1918, Marianne Moore wrote to Pound from New York, saying: Over here,
it strikes me that there is more evidence of power among painters and sculptors than
among writers. Her friend William Carlos Williams, looking back on the birth of
American modernism, wrote: We were restless and constrained, closely allied to the
painters. Impressionism, Dadaism, surrealism applied to both painting and the
poem.
This seminar sets out to explore the relationships between poetic and pictorial
modernism in Anglophone poetry, focusing on the second decade of the twentiethcentury and on a series of texts that emerge in explicit dialogue with the visual arts.
Discussion will centre on Gertrude Steins Tender Buttons and a selective anthology
of poems, which I will circulate beforehand.
Core Reading
This list will be fine-honed in the autumn term, but you are encouraged to read as many as
the following texts as you can.
- Ezra Pound, Vorticism (1915) and the poem In a Station of the Metro (Selected
Poems).
- Gertrude Stein, Tender Buttons (in Lawrence Rainey, Modernism) and (on handouts), her essays on Matisse (1912) and Pictures (1935).
William Carlos Williams, A Matisse (1921), and selected poems, including the
following: A Portrait of the Times, The Locust Tree in Flower, View of a Lake,
Proletarian Portrait (An Early Martyr ) Portrait of a Woman in Bed, A Portrait in
Greys, To a Solitary Disciple, Overture to a Dance of Locomotives, The Great
Figure (Sour Grapes), The Pot of Flowers, *The Rose, At the Faucet of June, The
Right of Way , Composition, The Red Wheelbarrow, (Spring and All, 1923,
dedicated to Charles Demuth), 11/1, This Florida: 1924, The Attic which is
Desire, The Dish of Fruit, and Pictures from Breughel (Pictures from Breughel)
- Marianne Moore, Is the Real Actual? (The Dial 73 December 1922, Collected Prose
73-5) and selected poems, including: In the Days of Prismatic Color, Sojourn in the
Whale, Those Various Scalpels, The Fish, Critics and Connoisseurs, In this Age
of Hard Trying, Poetry, New York, When I Buy Pictures, An Egyptian Glass
Bottle in the Shape of a Fish
- Mina Loy, Italian Pictures, Three Moments in Paris, Lunar Baedeker, Gertrude
Stein, On 3rd Avenue, Mass Production on 14th Street in Mina Loy, The Lost Lunar
Baedeker ed Roger L. Conover (New York: FSG, 1997).
- Wallace Stevens, Thirteen Ways of Looking at a Blackbird, Of Modern Poetry,
The Man with the Blue Guitar, Study of Two Pears, The Planet on the Table in
Wallace Stevens, Collected Poems (London: Faber, 1955) or Wallace Stevens, Collected

Poetry and Prose (Library of America, 1997). See also Stevens, The Relation between
Poetry and Painting.
Further Reading
Rebecca Beasley, Ezra Pound and the Visual Culture of Modernism (Cambridge:
Cambridge University Press, 2007)
Carolyn Burke, Becoming Modern: The Life of Mina Loy (New York: Farrar, Straus and
Giroux, 1996);Bonnie Costello, Marianne Moore: Imaginary Possessions (Cambridge:
Harvard University Press, 1981)
T.J. Clark, Farewell to an Idea: Episodes in the History of Modernism (New Haven: Yale,
1999)
Terence Diggory, William Carlos Williams and the Ethics of Painting (Princeton:
Princeton Universtiy Press, 1991)
Bram Dijkstra, The Hieroglyphics of a New Speech: Cubism, Stieglitz, and the Early Poetry
of William Carlos Williams
Bram Dijkstra ed., A Recognizable Image: William Carlos Williams on Art and Artists
(New York: New Directions, 1978);
Elizabeth Joyce, Cultural Critique and Abstraction: Marianne Moore and the Avant-garde
(Lewisburg, PA: Bucknell University Press, 1998)
Virginia Kouidis, Mina Loy: American Modernist Poet (Baton Rouge: Louisiana State
UP, 1980)
Linda Leavell, Marianne Moore and the Visual Arts (Baton Rouge: Louisiana State
University Press, 1995), (see, in particular, the chapter Portraits and Miscellanies)
Elizabeth Loiseaux, Twentieth-Century Poetry and the Visual Arts (Cambridge: CUP,
2008)
Maeera Shreiber and Keith Tuma (eds.) Mina Loy, Woman and Poet (Orono, ME:
National Poetry Foundation, 1998)
Wendy Steiner, Exact Resemblance to Exact Resemblance: The Literary Portraiture of
Gertrude Stein (New Haven: Yale University Press, 1978)
Helen Vendler ed., Voices and Visions: The Poet in America (New York, 1987)

3) Joyces Ulysses
Lawrence Rainey
Ulysses is a litmus test: all theories of literary modernism can be tested against it, and
every history of the modern novel must come to terms with its extraordinary
innovations. Well focus on chapter 13 (the Nausicaa chapter). This will be made
available on-line through the VLE. If you want to purchase your own edition of the
novel, please get Ulysses: the Corrected Text, edited by Hans Walter Gabler, with
Wolfhard Steppe and Claus Melchior (New York: Vintage Books, 1986; London:
Bodley Head, 1993). I would urge you not to bring in editions by other editors (Jeri
Johnson, Declan Kiberd, etc.) or other publishers (Penguin Modern Classics, etc.).
Core Reading
James Joyce, Ulysses: the Corrected Text, edited by Hans Walter Gabler, with Wolfhard
Steppe and Claus Melchior (New York: Vintage Books, 1986; London: Bodley Head,
1993), chapter 13.
Further Reading
Andrew Gilbert, "History, All That: 'Sirens,' Cyclops,'" in Joyces Revenge: History,
Politics and Aesthetics in Ulysses (Oxford: OUP, 2002), pp. 103-126 (available through
the VLE).
Don Gifford & Robert J. Seidman, Ulysses Annotated, revised and expanded edition
(Berkeley: University of California Press, 1988), chap 13 (also available on the VLE).
Homer, The Odyssey, trans. Robert Fagles (New York: Penguin, 1996), Book 9, pp.
211-229 (this, too, can be read on VLE).

4) The Ghosts of W. B. Yeats and T. S. Eliot

Matthew Campbell
This will be a session about the ghostly in some of Yeats's later poems: 'Ego Dominus
Tuus', 'All Souls Night', 'Sailing to Byzantium', 'Byzantium'. It will also discuss
Yeats's last play, Purgatory, and T.S. Eliot's view of it. Eliot's 'Little Gidding', in
which Yeats appears as part of a 'familiar compound ghost', will also feature. The
discussion will touch on a number of topics related to modernist poetry and ghosts the past, anti-modernism, mid-twentieth-century mysticism and religion, as well as
poetry in time of war.
Core Reading
W. B. Yeats, The Poems ed. Daniel Albright (London: Everyman 1990) (although any
other edition will do);
---- A Vision (1925; revised ed. 1937). Currently the most easily purchased is the 1925
edition in The Collected Works of W. B. Yeats: Volume XIII: A Vision, ed. Catherine E.
Paul and Margaret Mills Harper (New York: Scribner, 2013)
--- Purgatory (1939) any edition. It may be easiest to locate in The Major Works,
Including Poems, Plays and Critical prose, ed. Edward Larrissy (Oxford: OUP, 2008)
T. S. Eliot, Four Quartets (1936-1942) in Collected Poems 1909 (London: Faber, 1963)
(although any edition will do), and 'W.B. Yeats' in Selected Prose (London: Faber,
1963).
Further Reading
There are numerous studies of Yeats and Eliot - good introductory essays with very
helpful critical suggestions can be found in the recent CUP collections, Yeats in
Context, ed. Holdeman and Levitas, and Eliot in Context ed. Jason Harding.

5) Emilie Morin
Utopian Longings
In this seminar, we will discuss Aldous Huxleys classic Brave New World (1932) in
the light of post-war and contemporary debates about utopian thinking, as they have
developed within and around the work of Frankfurt School philosophers. Our aim
will not be to determine whether Brave New World is best read as an example of
utopian or dystopian fiction; rather, we will seek to explore, through these precise
theoretical lenses, the parameters of Huxleys reflections on technology, boredom
and the failures of rationality as they unfold in Brave New World.
Set reading for the seminar:
Aldous Huxley, Brave New World (any edition) (you must bring a copy of this novel
to the seminar)
Theodor W. Adorno, Aldous Huxley and Utopia, from Adornos Prisms, pp. 95118 (scan on VLE, under Resources List)
Ernst Bloch and T.W. Adorno, A Conversation on the Contradictions of Utopian
Longing, from Blochs The Utopian Function of Art and Literature, to be read from
https://files.nyu.edu/scr266/public/Adorno_Bloch.pdf
Herbert Marcuse, The End of Utopia, (1967), to be read from
https://www.marxists.org/reference/archive/marcuse/works/1967/endutopia.htm
Secondary reading:
Fredric Jameson, The Politics of Utopia, New Left Review [2nd series] no. 25 (JanuaryFebruary 2004): 35-54. [accessible as e-journal via the library website (2nd series)]
Fredric Jameson, Archaeologies of the future: the desire called Utopia and other science
fictions. Verso, 2005.
Theodor Adorno and Max Horkheimer, Dialectic of Enlightenment [you can either
read the excerpt and the introduction in the Norton Anthology of Theory and Criticism,
OR - if you wish to engage with this text in greater depth - you can read the
introduction, chapter 2 on the culture industry and the concluding sections on
propaganda]
Background reading/surveys:
The Cambridge companion to utopian literature, ed. Gregory Claeys. [e-book, accessible
via library website]
Utopian spaces of modernism: British literature and culture, 1885-1945, ed. Rosalyn
Gregory and Benjamin Kohlmann (Palgrave, 2012) [e-book, accessible via library
website]
Brad Buchanan, Oedipus in Dystopia: Freud and Lawrence in Aldous Huxleys
Brave New World, Journal of Modern Literature 25. 3-4 (2002): 75-89.
Erika Gottlieb, Dystopian fiction East and West: universe of terror and trial (McGillQueens University Press, 2001)
Jerome Meckier, Aldous Huxley's Americanization of the Brave New World
Typescript, Twentieth Century Literature 48.4 (2002): 427-460 [accessible via Project
Muse].
Richard A. Posner, Orwell Versus Huxley: Economics, Technology, Privacy, and
Satire, Philosophy and Literature 24.1 (2000): 1-33 [accessible via Project Muse].

7) Becketts Voices
James Williams
In this seminar we will read two works by Samuel Beckettor four, depending how
you count themthe play Krapps Last Tape and the trilogy of short prose texts
known as Nohow On (Company, Ill Seen Ill Said, Worstward Ho). These texts could be
compared in many ways: well be focussing on questions of voice and address. What
voices are speaking in Beckett? Who are Becketts voices speaking to? Who is
listening? Does a voice presuppose a self? What if selves have multiple voices? How
is a voice on the page related to a voice in performance? Where are the lines between
dialogue and monologue? How is Becketts writing animated by these questions?
Core Reading
Samuel Beckett, Krapps Last Tape (1958) in The Complete Dramatic Works (London:
Faber and Faber, 1986).*
. Company (1980), Ill Seen Ill Said (1981), Worstward Ho (1983). This trilogy of very
short prose texts, collectively known as Nohow On, comes to only 100 pages in
total. The edition to buy is: Company, Ill Seen Ill Said, Worstward Ho, Stirrings Still,
ed. by Dirk van Hulle (London: Faber and Faber, 2009).*
I may also set some bits of supplementary reading e.g. letters, extracts from the
theatrical notebooks for Krapp, etc. but if so I will notify you in good time, and will
provide them as a hand-out at least a week ahead of the seminar.
* You may be reassured to know that our seminar will be on the English versions of all these texts.
However, if you can read French and are interested in Beckett, you stand to gain a lot from
comparing the English texts with their French versions. Please note, however, that Becketts
composition practices were far more complicated than they are sometimes made out to be (i.e.
writing in one languageat first English, then later, Frenchand then self-translating into the
other). Krapps Last Tape was written in English for the Northern Irish actor Patrick Magee, then
self-translated as La Dernire bande the following year. Company was first written in English, then
immediately self-translated into French and published in 1980 as Compagnie; the English text was
then revised in light of the French and published later the same year. Ill Seen Ill Said was first
written in French as Mal vu mal dit: Beckett began translating it into English even as the French text
was still being written and revised. Worstward Ho was written in English, and never translated by
the author. Beckett regarded it as untranslatable, but this didnt stop dith Fournier from having a
go: her translation, Cap au pire, appeared in 1991.

Secondary Reading
There is no set secondary reading, however you are encouraged to explore the
following reading list and I would expect a well-prepared student to come to the
seminar having read three or four article-length things, or equivalent, from it.
Ackerley, Chris, The Uncertainty of Self: Samuel Beckett and the Location of the
Voice, Samuel Beckett Today/Aujourdhui, 14 (2004), 39-51.
Anderman, Gunilla, Untranslatability: The Case of Pronouns of Address in
Literature, Perspectives: Studies in Translatology, 1 (1993), 57-67.
Brogan, Walter, The Voices That I Am, Mosaic: A Journal for the Interdisciplinary
Study of Literature, 44:1 (March 2011), 165-175.
Campbell, Julie, Echos Bones and Becketts Disembodied Voices, Samuel Beckett
Today/Aujourdhui, 11 (1001), 454-60.

Connor, Steven, Voice and Mechanical Reproduction: Krapps Last Tape, Ohio
Impromptu, Rockaby, That Time, in Jennifer Birkett and Kate Ince, eds, Samuel
Beckett (Longman Critical Readers) (London: Longman, 2000).
Critchley, Simon, Who Speaks in the Work of Samuel Beckett?, Yale French Studies
93 (1998), 114-30.
Federman, Raymond, Company: The Voice of Language, in Henry Sussman and
Christopher Devenney, eds, Engagement and Indifference: Beckett and the Political
(Albany NY: State University of New York Press, 2001).
Hovind, Jacob, Beckett and the Narrative Voice: What Remains in Company, in
James Carney et al. eds, Beckett Re-Membered: After the Century (Newcastle:
Cambridge Scholars Press, 2012).
Kennedy, William, Voice and Address in Literary Theory, Oral Tradition, 2
(1987), 214-30.
Mandelstam, Osip, On the Addressee, in The Collected Critical Prose and Letters, ed.
Jane Gary Harris (London: Collins Harvill, 1991).
Maude, Ulrike, Sonorous Transgression: Beckett and the Ear, in Risto Hiltunen et
al., eds, English in Zigs and Zags: A Festschrift for Maria Gustafsson (Turku:
University of Turku, 2001).
McGovern, Barry, Beckett and the Radio Voice, in Christopher Murray, ed., Samuel
Beckett: 100 Years (Dublin: New Island, 2006).
West, Sarah, Say It: The Performative Voice in the Dramatic Works of Samuel Beckett
(Amsterdam/New York: Rodopi, 2010).

8) Formalism and Fiction Since 1950

Richard Walsh
This seminar will examine various manifestations of the formalist impulse in fiction
since 1950, primarily within the French and American traditions; and it will situate
these literary texts in relation to contemporary literary-critical and theoretical
arguments engaged with formalist issues, especially regarding structuralism, poststructuralism and postmodernism. The reading for the seminar will consist of Alain
Robbe-Grillets Jealousy (you will need a copy of this), and short selections from
among a number of other writers (which I will provide), as below:
Core Reading
Alain Robbe-Grillet, Jealousy (1957). Trans. Richard Howard. London: John
Calder, 1960.
Walter Abish, In the Future Perfect (1975). London: Faber & Faber, 1984.
John Barth. Lost in the Funhouse. (1968). New York: Doubleday Anchor, 1988.
Donald Barthelme, Sixty Stories. New York: Putnam, 1981.
Christian Bok, Eunoia.
http://archives.chbooks.com/online_books/eunoia/text.html?q=archives/o
nline_books/eunoia/text.html
Jorge Luis Borges. Labyrinths. 1964 (1956-60). Harmondsworth: Penguin, 1970.
Lydia Davis. Varieties of Disturbance. 2007. New York: Farrar, Straus and Giroux,
2007.
David Foster Wallace. Brief Interviews with Hideous Men. 1999. London: Abacus, 2001.
A list of recommended further reading for the seminar is below. Specific selections
drawn from this list will be provided for the purposes of discussion during the
seminar.
Further Reading
Barth, John. The Literature of Exhaustion. Atlantic Monthly, 1967.
Barthes, Roland. Writing Degree Zero. New York: Hill and Wang, 1968.
Baudrillard, Jean. The Precession of Simulacra. Simulacra and Simulation. 1981.
Culler, Jonathan. Structuralist Poetics: Structuralism, Linguistics and the Study of
Literature. 1975.
Graff, Gerald. Literature Against Itself: Literary Ideas in Modern Society. 1979.
Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. 1988.
Jameson, Fredric. Postmodernism, or, The Cultural Logic of Late Capitalism. 1991.
Lescure, Jean. Brief History of the Oulipo. Warren F. Motte Jr., ed. & trans., Oulipo:
A Primer of Potential Literature. Lincoln : University of Nebraska Press, 1986.
Lyotard, Jean-Franois. The Postmodern Condition: A Report on Knowledge. 1984.
McHale, Brian. Postmodernist Fiction. 1987.
McLuhan, Marshall. Understanding Media: The Extensions of Man. 1964.
Robbe-Grillet, Alain. For a New Novel (1963). Trans. Richard Howard. New York:
Grove Press, 1965.

9) Thatcherism, Neoliberalism and the Resources of the World-Literary System

Claire Westall
Following the elections of Ronald Reagan and Margaret Thatcher in the early 1980s,
neoliberalism became the dominant ideological formation in the Anglo-American
world. This seminar will set neoliberalism within the longer history of the capitalist
world system but will also attend to a recent effort to portray Thatchers attack on
labour in the 1980s. By working out from David Peaces 2004 novel GB84 we will
examine the manner in which resource fictions can help us understand how
contemporary socio-economic debates relate to the large-scale dynamics of capitalist
modernity.
Core Reading
GB84 (2004) by David Peace
(NB: this is a long, dense text and students are encouraged to read it well in advance of Week
8)
And
Matthew Hart, The Third English Civil War: David Peaces Occult History of
Thatcherism, Contemporary Literature, 49.4 (Winter 2008): 573-96.
Graeme MacDonald, "The Resources of Fiction", Reviews in Cultural Theory Vol 4,
Issue 2 (2013): 1-24.
Margaret Thatcher, The Downing Street Years (London: Harper Collins, 1993), Chapter
XIII, Mr Scargills Insurrection (VLE)
David Harvey, A Brief History of Neoliberalism (Oxford: Oxford UP, 2005),
Introduction, pp. 1-4. (ebook via library)
Further Reading
Huw Beynon, The Miners Strike in Easington, New Left Review 1/148 (Nov-Dec,
1984)
Wendy Brown, American Nightmare: Neoliberalism, Neoconservatism, and DeDemocratization, Political Theory 34 (2006): 690-714.
----, Neo-liberalism and the End of Liberal Democracy Theory & Event 7.1 (2003).
Web: http://muse.jhu.edu/journals/theory_and_event/v007/7.1brown.html
Mark Fisher, Capitalist Realism: Is There No Alternative? (Winchester: Zero Books,
2009).
Jeremy Gilbert, What Kind of Thing is Neoliberalism? New Formations 80/81
(2013): 7-22.
David Harvey, A Brief History of Neoliberalism (Oxford: Oxford University Press,
2005).
Katy Shaw, David Peace: Texts and Contexts (Sussex Academic Press 2010)
Jeffrey J. Williams, The Plutocratic Imagination, Dissent (Winter 2013).
Web: http://www.dissentmagazine.org/article/the-plutocratic-imagination

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10) Signifying Katrina: Disaster Capitalism, Displacement, and Race

Bryan Radley
Following on from the discussion of neoliberalism in the previous week, this
seminar will look at the political and cultural legacies of Hurricane Katrina. The
focus will be on Mary Robisons 2009 experimental novel One D.O.A., One on the
Way. Does Robisons fragmentary, blackly comic, and generically mutable narrative
provide an apposite aesthetic response to the challenge of representing the political
ruptures, psychic wounds, and temporal discontinuities of New Orleans after
Katrina? The critical coordinates for our discussion will include the biopolitics of
disposability and ideas of disaster capitalism / apartheid (via the work of Henry
Giroux and Naomi Klein respectively).
Core Reading
Mary Robison, One D.O.A., One on the Way (Berkeley, CA: Counterpoint, 2009).
Henry A. Giroux, Reading Hurricane Katrina: Race, Class, and the Biopolitics of
Disposability, College Literature 33.3 (Summer 2006): 171-196.
Naomi Klein, The Shock Doctrine (London: Allen Lane, 2007; rpt. Penguin, 2008),
Chapter 20 (Disaster Apartheid).
Further Reading / Viewing
Dave Eggers, Zeitoun (San Francisco, CA: McSweeneys, 2009; rpt. Penguin, 2010).
Jane Elliott, Life Preservers: The Neoliberal Enterprise of Hurricane Katrina
Survival in Trouble the Water, House M.D., and When the Levees Broke, in Old and
New Media after Katrina, ed. Diane Negra (Basingstoke: Palgrave Macmillan, 2010),
pp. 89-111.
Henry A. Giroux, Stormy Weather: Katrina and the Politics of Disposability (Boulder,
CO: Paradigm Publishers, 2006).
Nandini Gunewardena and Mark Schuller, eds., Capitalizing on Catastrophe: Neoliberal
Strategies in Disaster Reconstruction (Lanham, MD: AltaMira Press, 2008), esp. the
three chapters that comprise Part 3, Exposing Katrina: Class, Race, and
Displacement, pp. 117-156.
Cynthia Whitney Hallett, Minimalism and the Short Story: Raymond Carver, Amy
Hempel, and Mary Robison (Lewiston, NY: The Edwin Mellen Press, 1999), 101-133.
[This chapter provides a useful summary of the first twenty years of Robisons
career, with a focus on the short stories and her place within the minimalist
movement.]
Chester Hartman and Gregory D. Squires, eds., There is No Such Thing as a Natural
Disaster: Race, Class, and Hurricane Katrina (London: Routledge, 2006).
Spike Lee, dir., When the Levees Broke: A Requiem in Four Act (USA: HBO Video, 2006).
Tia Lessin and Carl Deal, dirs., Trouble the Water (USA: Zeitgeist Films, 2009).
Greil Marcus and Werner Sollors, 2005: New Orleans is Lost in the Flood, in A New
Literary History of America, ed. Greil Marcus and Werner Sollors (Cambridge, MA:
Harvard University Press, 2009), 1039-1044.
Josh Neufeld, A.D.: New Orleans After the Deluge (New York: Pantheon Books, 2009).
Laura Tansley, Shattered Reflections: One D.O.A., One on the Way, Short-Short
Stories, and Enacting Trauma, in Ten Years After Katrina: Critical Perspectives of the
Storm's Effect on American Culture and Identity, ed. Mary Ruth Marotte and Glenn
Jellenik (Lanham, MD and London: Lexington Books, 2014), 57-72.
Jesmyn Ward, Salvage the Bones (London: Bloomsbury, 2011).

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