...Stephanie Lambert “Everyday things represent the most overlooked forms of knowledge,” claims Father Paulus, the Jesuit priest in Don DeLillo’s novel Underworld (1997). What tends to go overlooked in DeLillo’s work, this article proposes, is the socio-ecological violence of the capitalist world...

... engagement with German, an engagement that extends all the way to the six poems she wrote about the untimely death of her German-born father. Taking that early work seriously, then, this essay explores the relationship between mourning and translation in Plath’s work from the Rilke translation through...

... voice, one blurring distinctions between its California teen daughter-protagonist-narrator and the father-author, both learned European exile and savvy Tinseltown operator. In subtly decisive ways, Kohner intervenes allusively and intertextually in the central narrative to anchor buoyant personal...

...John Boly Copyright © Hofstra University 2001 Following Seamus Heaney’s “Follower”: Toward a Performative Criticism J ohn Boly eaders of Seamus Heaney’s poetry may remember the scene in “Fol­ lower” when the father, hard at work...

... of the Indian father, not only scarred Nick Adams for life but also provided Hemingway with the framework of his metaphor in developing Nick. The stark realism of the first story was not something he used once and discarded. It went a long way toward explaining Nick, and Hemingway...

... that that was happening here and now, it wasn’t a total surprise I think the one thing I really learned from my father was how to pack a suitcase.You know? It was the one thing he wanted to make sure I understood, like how to use every available centimeter to get as much stuff packed into a small...

.... Todd Andrews, the novel’s pro­ tagonist, must come to grips not just with the suicide o f his father— itself a theme that places the novel within a set o f distinctly white, southern, and upper-class concerns about the power o f patriarchy, the possibilities for heroic action in modernity...

... the writer preserve an authentic memory of it, free from romantic idealism or bitter cynicism? Or are we better off letting it slide, as two of O’Brien’s characters (the fathers of Paul Berlin and Norman Bowker) suggest? A gap inevitably opens up between the imaginary casting of an event...

... by his own inflexibility, especially prominent at the outset of the novel, where he concedes that his temperament joins his skull as one of the “two hardest parts of the body”: it is “fixed, set” (2). In comparison with her father, Lucy is adaptable, but the terms on which she must negotiate...

... comparisons between his life and Stephen’s, but these comparisons serve more as suggestive struc­ ture to the poem rather than as an obtrusive and self-conscious formula. The speaker in Another Life searches for fathers, experiences epiphanies, equates sexual awakening with encountering...

... its Heideggerian aspect: “If care signals the authentic recognition of one’s finitude and one’s embeddedness while marking the world in terms of one’s project, then there is a sense in which the father of the house exhibits care as pure ressentiment : Odradek is useless and serves only...

... to unresolved aspects of Con- rad’s own personal history: “Poland Revisited” is haunted by an absent figure, Conrad’s father, a Polish nationalist whose specter stalls Conrad’s movement from Poland to Britain and his attempt to return to Britain once in Poland. Geoffrey Galt Harpham argues that “Conrad...

... and drafts, and an academic essay by Hillary Chute, the book’s associate editor and Spiegelman’s interviewer.2 Most significant among the supplements are the audio and transcripts of Spiegelman’s conversations with Vladek, his father. Portions of those conversations were once made available on CD-ROM...

... characters on Leslie Stephen’s first father- and sister-in-law in this fiction for which an early working title was “The Third Generation” (Diary 1.19).2 Confronting the literary import of her extended family legacy and analyzing it in self-conscious fashion, Woolf also appropriated it for her own...

...- ating their earlier liberal, “postmodern” stances, acknowledging both their liberal naïveté and the power of the father’s voice. According to Parrish, Merry, the “anarchic center of the novel” (91) and a “postmodern horror” (93), forces the Swede to confront the falsity of his assimilated self...

... style becomes as plain as Lowell’s in lines such as the opening of the second sonnet: “My father, who had flown in World War I / Might have continued to invest his life . . .” (CP 197). As in Lowells family portrait, Merrill’s reveals a father with a physically ad­ venturous period behind him...

... emerges within a national-paternal context, but it still has the potential to unsettle that national-paternal. O’Hara himself felt called to a paternalistic, white American identity, but he also felt bound to resist it. In another early poem, “To My Dead Father,” he writes: Don’t call to me...

... sexual difference through the body as One . . . . The hysterical angel intends to occupy the mythical place of the desexualized partner of the noncastrated and hence fully enjoying Father, who would thus be himself asexual.” The hysterical subject, that is, is bound to the sovereign in a soteriological...

..., is experiencing growing pains in 1976.The descendants of its founding fathers—the 8-rocks, as Patricia Best Cato calls them2—control every essential aspect of the town, from the general stores to the banks. Deacon and Steward Morgan are twin brothers at the heart of the patriarchal system...

... on the subject of nose jobs, when he asked whether Brenda’s father was planning to get one too. (Brenda had told him that her brother Ron would be hav­ ing his nose fixed in the fall.) Just as Brenda had responded then, “Why are you so nasty?” (13), and followed her query with the alluring offer,“If I let...