...Dennis López There are ghosts in the barn, or at least Helena María Viramontes’s Under the Feet of Jesus leads one to believe so. Instances of spectrality abound in the novel, suggesting a fundamental connection between Viramontes’s figurative appeal to the “ghostly” and her more openly political...

... that the hyena is a marker of ambiguity and indeterminacy implicitly bound up with questions of race, sex and sexuality, and ethics. Following Forster’s language closely, the article illustrates how Forster links the figure of the hyena together with a thematics of spectrality that crosses cultural boundaries...

...” (173-74). These spectral incarnations of Nabokov, dissolved in a “velvety sinter” (161) of particles only a step away from complete invisibility, take their place among the many other provisional versions of him that the text supplies, but importantly, they are deprived of any ultimate prospect...

... not there; bracketed in recognition of her vanishing, yet preserved in recognition of her status as bodily, natural, historical origin. (177) Whereas most critics have focused on the spectral but heroic figure of Percival, the lost leader whose death cements the communal mourning of six friends whose...

..., this catachrestic staging of shame and double thought forestalls the closure sought by both journey and essay. The last section doesn’t resolve the split between the two Conrads, but rather offers only a final act of doubling and expropriation, returning once again to the spectral, revolutionary father...

... a critique of a dictator. By casting Robin as a representation of disturbingly proto-fascist politics, however, Spiro suggests that Barnes’s character can be understood in the larger, historical context of the rise of Nazism. In Chapter Three: “Seeing Jewish or Seeing ‘the Jew’? The Spectral...

... cannot do. He refers to his speech as an archive of words and the residua of its own textual genesis stretching through the earlier texts of Samuel Beckett into a recurring scenario where the spectral “voice” is administered by the “master” or one of its incarnations. It is true...

... to the biographies of the writers he studies, nor does he read literary texts as transparently intentional acts or historically determined epiphenomena. Instead, he aims to describe “the authors who emerge as spectral presences from our readings of their works” (12). The method of Obscure Invitations...

... in a spectral version of the “Lebensraum” (“living room”), imagined by Hitler as a space where the German people could secure the soil needed for their survival and continued security through a racial war. In this way, McNaughton convincingly challenges existential interpretations of the play that read...

... this disembodied dress recalls the spectral dress in Beloved that haunts and accompanies Sethe. The dress that Sethe’s daughter Denver observes is a portent. Beloved soon appears in the form of a young adult woman, but Sethe and Denver do not recognize the revenant precisely because she is embodied...

... , means there is no storyteller. Indeed, even if an opening into “life above” were visible from the voice’s dwelling-place, passing through such an opening would depend on the voice’s overcoming what in Text 3 is presented as an insurmountable obstacle of its spectral ontology: Is it possible...

... in the statement. 16 I first came across this quote in Pheng Cheah’s Spectral Nationality (2003, 389). 17 This is not to say that Sarduy never made statements to this effect, but simply that such a logic is not in fact what is operative in Cobra . Works cited Barthes Roland . 1982...

... explored. An aging artist, his spirited young wife, his spectral former model, and a blood-and-guts bear hunter—a foursome that reconfigures throughout When We Dead Awaken into shifting romantic and allegorical pairings—climb upward on a mountain range pursuing their differing visions of ascent...

... as one that was open, literally and figuratively, to the sea—that “fifth and spectral province . . . which always operates in The Bell as [a] silent, observable region that persists beyond society’s attempts to curtail the individual’s desire to be free” (106–7). Much of what was published in The Bell...

... extensive and elusive, a fabric spun from unyielding cords and spectral fibers. In response to this complexity and vitality, Cather’s readers have interpreted her representa­ tions of memory in a variety of insightful and provocative ways.1 The very breadth and diversity of these critical...

... the correct representation of Charlotte’s “tragedy,” they name and briefly discuss the Brontës, Hardy, Tolstoy, Zola, Stendhal, Dickens, Eliot, Wharton, and Flaubert (256-57). Unlike the novel’s spectral allusions to the postmodern canon, therefore, the tradition of the Victorian novel signifies...

...: Opaque Words like “quarks” or “mitochondria” Aren’t words at all, in the Rilkean sense of House, Dog, Tree— translucent, half-effaced, Monosyllabic bezoars already Found in the gullet of a two-year-old. Whereas through Wave, Ring, Bond, through Spectral Lines...

... contributed to a conceptual reconfiguration of space, its simultaneous “immensification” and collapse, leading to the paradoxical experience of a remote intimacy, along with the increasing familiarity of the virtual space of a switchboard, inhabited by a spectral operator (211).6 Certainly...

... of detachment. Concluding with the spectral presence of these shipwrecked subjects—past victims of the talisman—Moore’s poem intimates the cost of fixating on the powers of things, a cost she reckons with in her later poetry. “What a fine thing!” As Moore develops in her appreciation of objects, she...

... reply is fraught with religious significance. Is it Cruso speaking here, or is it the soon-to-be Robinson Crusoe of Defoe’s novel? Following this trail, Friday could only ever have become Cruso’s by losing his tongue, rendering him the demonic mystery silently constituting the spectral limit...