Journal articles: 'Piccadilly (London, England) – Fiction' – Grafiati (2024)

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LATE IN 1839, George Catlin arrived in London from New York with a collection of Native American artifacts, costumes, and some six hundred portraits and other paintings. Executed during the previous eight years in the Prairies and the Rockies, they showed the appearance, habitat and customs of various tribes. Catlin rented the Egyptian Hall, in Piccadilly, set up a wigwam made of twenty or more ornamented buffalo skins in the center, and proceeded to mount his exhibition. Initially attracting a good deal of favorable attention, it ran for two years before touring England, Scotland, Ireland, and finally France.

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Place is considered as a distinguishable factor among Jean Rhys’s novels, most concretely represented by three countries: Dominica, England and France. In locating her outsider and outcast heroines in these places of interconnectedness, Rhys’s fiction responds to a time of crisis in the history of Empire. With a much stigmatized white West Indian creole identity, her heroines are unacceptably white in Dominica, and unacceptably “black” in Europe. In Voyage in the Dark, Anna is stranded in a modernist London that was at once racially heterogeneous, cosmopolitan and xenophobic. Her transgressive and mobile identities (racial, sexual, national), are forever making her stranger in the metropole. In Quartet and Good Morning, Midnight, both Marya and Sasha occupy the temporary and liminal spaces of the metropolis of Paris and try to buy themselves an illusion of a respectable identity. Rejected, unhoused, wandering in a state of limbo, their existence becomes mechanical and ghostly. It is this sense of having no identity and no place of belonging resulted from a very specific and traumatic colonial experience that best explains the pervasive tone of loss, melancholy, and paralysis of spirit underlying all of Rhys’s fiction.

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Owen Clayton, "London Eyes: William Dean Howells and the Shift to Instant Photography"(pp. 374––394) Toward the end of the nineteenth century, one of William Dean Howells's many avid readers, finally meeting him in the flesh, expressed surprise that the famed writer was not dead. Although he had not actually departed from the world, it was true that by this time the venerable "Dean"was at a low ebb. While younger authors were taking the novel in directions about which he was, at the least, ambivalent, Howells was aware that his own best work was behind him. Yet, throughout his career, he maintained a desire to test different literary approaches. In England in 1904, Howells tested a conceit that would allow him to keep pace with the literary movements of the day. This consisted of an extended photographic metaphor: an association of himself with the Kodak camera. He used this figuration to move beyond the philosophical foundations of his previous work. Criticism has largely overlooked this endeavor, which Howells buried away in the somewhat obscure travelogue London Films (1905). This essay shows how London Films used its photographic metaphor to question positivistic observational assumptions, the way in which this was a response to William James's Essays in Radical Empiricism (1912), and, finally, why Howells ultimately went back on his attempt to create a Kodak school in fiction.

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George Gissing was obsessed with the question of ‘home’, in his own restless mobility as well as that of his characters, whose domestic circ*mstances he invariably enumerated in detail. Gissing's Born in Exile moves between real and fictional locations in London, Exeter, and the industrial north of England, but also between a variety of lodgings, chambers, and houses which accommodate, constrain, and only occasionally liberate their occupants. Their contradictory and volatile attitudes to these ‘homes’ parallel Gissing's unstable reactions to his own lodgings and highlight the relative nature of locations between town and country as well as differences in perception of the same physical surroundings. Descriptions of and debates about ‘home’ in Born in Exile provide a prelude to Gissing's later, more dogmatic pronouncements in The Private Papers of Henry Ryecroft, also penned – in fiction – from the perspective of the country around Exeter.

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The “condition of England” in the middle of the nineteenth century was, for most Victorians (and is, indeed, for most modern scholars of the Victorian period), about as far removed from desert pirates and neo-Grecian queens as London from Jerusalem. But such was not the case in 1847 for the ambitious novelist-turned-politician Benjamin Disraeli, himself a mixture of political and social incongruities, who chose to conclude his political trilogy with a novel that bore greater resemblance to an Arabian Nights fantasy than to any mid-Victorian reform fiction. Contemporary readers of Tancred, or The New Crusade (1847) were understandably perplexed: “There is no principle of cohesion about the book, if we except the covers,” complained one reviewer (qtd. in Stewart 229). And, while critics have expanded upon this dismissive condemnation throughout the twentieth century, not much has changed regarding the general critical appraisal or thoughtful analysis of what Disraeli regarded as the favorite of his compositions (Blake 215). The least popular of the Young England novels both in its own day and in ours, Tancred has most frequently been viewed as an anomaly – an abandonment of the political manifesto Disraeli began in Coningsby and continued in Sybil.

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Hall Men are born free, how is it that all Women are born slaves? As they must be if the being subjected to the inconstant, uncertain, unknown, arbitrary Will of Men, be the Perfect Condition of Slavery? [Mary Astell, Reflections upon Marriage (London, 1700), p. 66]The wife ought to be subject to the husband in all things. [Hannah Woolley, The Gentlewoman's Companion or a GUIDE to the Female sex (London, 1675), p. 104]IDid men and women have different cultural and material values in the late seventeenth and early eighteenth centuries? We know very little in detail about the activities of people within their homes and especially about their attitudes to the material goods that they used and that surrounded them. Virginia Woolf's complaint that she had no model to “turn about this way and that” in exploring the role of women in fiction applies equally to women's behavior as consumers, for we still do not know, as she put it, “what, in short, they did from eight in the morning till eight at night.” Did their particular roles within the household result in different material values, just as their biological and economic roles were different? We do know that power was unequally distributed within the household, although we can also demonstrate cooperation and affection between family members. We take it that the household was, in some sense, the woman's domain, but very often we cannot explore what this meant in practice. In short, was being “subjected to the inconstant, uncertain, unknown, arbitrary Will of Men” reflected in women's cultural values and tastes?These are broad questions that are not easily answered, either in theory or by observation, especially as it is not easy to identify the behavior of women as distinct from that of the family and household, but they are questions worth asking to see if there are signs of behavior different enough to warrant the view that there was a subculture in which women had the chance to express themselves and their views of the world separately, especially as the daily routines of their lives were different.

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Charles Haddon Spurgeon (1834–92) began his pastoral ministry in a village Baptist chapel in Cambridgeshire but became a national voice in Victorian England through his ministry in London. The huge crowds his preaching attracted necessitated the building of the Metropolitan Tabernacle, at the Elephant and Castle, which accommodated over 5,000 people. ‘By common consent’, says David Bebbington, Spurgeon was ‘the greatest English-speaking preacher of the century’. Spurgeon, like other nineteenth-century ecclesiastical figures, was involved in theological controversies, including the ‘Downgrade Controversy’, in which, in typically robust style, he attacked theological liberalism. In August 1887, he trumpeted: ‘The Atonement is scouted, the inspiration of Scripture derided, the Holy Spirit degraded into an influence, the punishment of sin turned into a fiction, and the resurrection into a myth …’ The Downgrade controversy has not attracted nearly as much attention as debates provoked in the nineteenth century by Essays and Reviews (1860) and Lux Mundi (1889), perhaps because the latter affected Anglicanism rather than the Free Churches. But since as many people were attending Free Churches as Anglican churches, the issues raised in the Downgrade, as the most serious nineteenth-century Free Church dispute, are of considerable significance.

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Henry James's Autobiography recalls a first vision of “vast portentous London” in 1855, and contrasts brother William's boredom to his own imaginative response to the city (Small Boy 157, 170–71). Having moved there, he feels that amid the “London scene” he can fully exercise his “intellectual curiosity,” feeding “on the great supporting and enclosing scene itself” (Middle Years 553, 564). A later announcement to William Dean Howells that “henceforth I must do, or half do, England in fiction” comes as no surprise (Letters 284). James would follow up his intention in half-a-dozen novels, gradually refining the treatment of broad aesthetic, moral, and political issues in The Tragic Muse and The Princess Casamassima to a more specific “form of social-scientific inquiry” into characters and their interactions (Mizruchi 119). The novels written during the last years of Victoria's reign — The Spoils of Poynton, What Maisie Knew, The Awkward Age, and The Sacred Fount — convey perceptions of crumbling social values, “the lost sense, the brutalized manner” (James, Notebooks 196), through close analysis of individuals' speech, actions, motives, and relationships. Indeed, James held that wider trends were summed up by the differences between the personal traits of Victoria and her heir. After the old queen's death, he voiced misgivings in various letters: whereas she had been “a kind of nursing mother of the land and of the empire,” Edward was “an arch-vulgarian,” whose accession seemed bound to bring “vulgarity and frivolity” (qtd. in Edel 2: 426). The tone is first gloomy, “It's a new era — and we don't know what it is,” and later resigned: “We live notoriously, as I suppose every age lives, in an ‘epoch of transition’ ” (Preface, Awkward Age 12). A strong conviction that personal and social behavior influence and signify each other informs such comments.

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Mary Rose Barrington was born in London; her parents were Americans with Polish-Jewish roots who decided to settle in England. By her own account (she very considerately left a biographical note for her obituary writer), her childhood was idyllic, mostly spent riding her pony and playing tennis, as well as reading her older brother’s science fiction. Later she became interested in classical music (she was an accomplished musician, playing cello in a string quartet and singing alto in a local choir) and in poetry, obtaining a degree in English from Oxford University. She then studied law, qualified as a barrister and a solicitor, and spent most of her professional life as a lawyer; her duties included acting as charity administrator for a large group of almshouses. Having a career in the law helped in pursuing two interests of special significance to her, animal protection and the right to voluntary euthanasia. She was responsible for drafting three parliamentary Bills relating to these subjects; none of them passed, but they produced some useful discussions. However, her main interest was in psychical research. When she was 15 she read Sir Oliver Lodge’s Survival of Man, and at Oxford she joined the Oxford University Society for Psychical Research, at that time headed by the philosopher H.H. Price and ran by Richard Wilson, later physics professor at Harvard. The society was very active and hosted knowledgeable invited speakers such as Robert Thouless, Mollie Goldney, and Harry Price. Eventually Mary Rose herself became the Oxford society’s President.

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Examining Caryl Phillips’s later fiction (A Distant Shore and In the Falling Snow) through the characters’ lived experience of their environment, this article seeks to pave the way toward a mutually enriching dialogue between postcolonial studies and urban ecocriticism. Phillips’s British novels show how Western racist/colonial underpinnings that persist in a postcolonial context are manifest in the phenomenon of spatialisation of race. The latter devises separate spaces of Otherness, imbued with savage connotations, where the undesirable Other is ostracised. The enriching concept of “man-in-environment” is thus reconfigured so that the postcolonial subject’s identity is defined by such bias-constructed dwelling-places. Consequently, the Other’s sense of place is a highly alienated one. The decayed suburban nature and the frightening/impersonal city of London are also “othered” entities with which the protagonists cannot interrelate. My “man-as-environment” concept envisions man and place as two subjected Others plagued by spatialisation of Otherness. The latter actually debunks the illusion of a postcolonial British Arcadia, as the immigrants’ plight is that of an antipastoral disenchantment with England. The impossibility of being a “man-in-place” in a postcolonial context precisely calls for a truly reconciling postpastoral relationship between humans and place, a relationship thus informed by the absolute need for environmental and social justice combined. Resumen Analizando las últimas novelas de Caryl Phillips (A Distant Shore y In the Falling Snow) a través de la experiencia del (medio)ambiente que viven los personajes, este artículo persigue enriquecer el diálogo entre los estudios postcoloniales y la ecocrítica urbana. Las ficciones británicas de Phillips desvelan cómo las bases racistas/coloniales occidentales que persisten en un contexto poscolonial se hacen evidentes en el fenómeno de la espacialización racial. Éste elabora espacios aparte de alteridad, impregnados de salvajes connotaciones, donde el indeseable “Otro” es excluido. El enriquecedor concepto de “man-in-environment” es reconfigurado de manera que la identidad del sujeto poscolonial acaba definiéndose por tan sesgados lugares de residencia. En consecuencia, el sentido del espacio del “Otro” está muy alienado. La decadente naturaleza suburbana y la aterradora e impersonal ciudad de Londres son también entidades ajenas con las cuales los protagonistas no pueden interactuar. Mi concepto de “man-as-environment” concibe al hombre y al lugar como dos “Otros” sometidos, acosados por la espacialización de la alteridad. Esto último desacredita la ilusión de una Arcadia poscolonial británica, en tanto que los aprietos de los emigrantes es tal que se crea un desencanto antipastoril con Inglaterra. La imposibilidad de ser un “man-in-place” en un contexto poscolonial demanda precisamente una auténtica y reconciliadora relación postpastoril entre hombres y lugares, es decir, una relación caracterizada por la absoluta necesidad de aunar justicia social y medioambiental.

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Lokapala is a Multiplayer Online Battle Arena (MOBA) created by the Indonesia game studio, Antarupa. All characters (Ksatriya) in this game are based on historical figures, mythology, and legends of the archipelago. Therefore, in the aesthetic context, the Ksatriya represent the culture of the Indonesia itself. However, what it looks like and how it is represented is a matter that must be studied. Therefore, this research was conducted. This research is qualitative research, from this Lokapala game we take the visual data of each character, classify it, and describe it. To examine the aesthetics of the Knights, we use Feldman's theory of aesthetics. This theory is used because of its relevance, namely aesthetics as a cultural representation. As for the results of this study, the aesthetics of the Indonesia is only seen through its characters in the symbols of 'Nusantara culture' which are already common, such as in clothing and other aesthetic elements—not deep nor philosophical. This lack of depth is something that is necessary because in game character design there are several things that need to be considered, such as industry needs and other technical issues.Keywords: MOBA, lokapala, representation, nusantara aesthetic. AbstrakLokapala adalah gimMultiplayer Online Battle Arena (MOBA) karya studio anak bangsa, Antarupa. Semua karakter (Ksatriya)di dalam gim ini diangkat dari tokoh sejarah, mitologi, dan legenda Nusantara. Oleh karenanya, dalam konteks estetika para Ksatriya merepresentasikan kebudayaan Nusantara itu sendiri. Namun seperti apa dan bagaimana representasinya adalah persoalan yang mesti ditelaah. Oleh karena itulah penelitian ini dilakukan. Penilitian ini adalah kualitatif, dari gim Lokapala ini kami mengambil data-data visual masing-masing karakter, mengklasifikansikannya, dan mendeskripsikannya. Untuk menelaah estetika para Ksatriya, kami menggunakan teori estetika Feldman. Teori ini digunakan karena relevansinya yakni estetika sebagai representasi kebudayaan. Adapun hasil dari penelitian ini, estetika Nusantara hanya terlihat melalui karakternya dalam simbol-simbol ‘budaya Nusantara’ yang sudah umum, seperti dalam busana dan elemen estetis lainnya—tidak mendalam, apalagi filosofis. Ketidak mendalam ini merupakan sesuatu yang niscaya karena dalam desain karakter gim ada beberapa hal yang perlu diperhatikan seperti kebutuhan industry dan masalah teknis lainnya.Kata Kunci:MOBA, lokapala, representasi, estetika nusantara.Authors:Lingga Agung : Universitas Telkom Tata Kartasudjana : Universitas Telkom Anggit Widya Permana : Universitas Telkom References:Howard, Lune., dan Bruce L. Berg. (2017). ‪Qualitative Research Methods for the Social Sciences ed ke 9. England: Pearson.Lokapala. (2021). Game Lokapala. https://lokapala.anantarupa.com/ (diakses tanggal 23 Juni 2021).Pisani, Elizabeth. (2015). Indonesia Etc.: Exploring the Improbable Nation. London: Granta Publication.Senoprabowo, A., Khamadi, K., Haryadi, T., & Yudani, H. D. (2017). Persepsi Visual Karakter Warrior pada Game Online Warcraft, Perfect World, dan Nusantara Online. Demandia: Jurnal Desain Komunikasi Visual, Manajemen Desain, dan Periklanan, 5(-), 160-181.Smith, Murray. (1995). Engaging Character: Fiction, Emotion, and Cinema. New York: Oxford University Press.Soewardikoen, W. Didit. (2019). Metodologi Penelitian Desain Komunikasi Visual. Yogyakarta: Penerbit PT Kanisius.Suryajaya, Martin. (2016). Sejarah Estetika: Era Klasik Sampai Kontemporer. Jakarta dan Yogyakarta: Gang Kabel dan Indie Book Corner.Triyanto. (2008). Estetika Nusantara: Sebuah Perspektif Budaya. Imajinasi Jurnal Seni, 4(1), 1-14.

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-Jay B. Haviser, Jerald T. Milanich ,First encounters: Spanish explorations in the Caribbean and the United States, 1492-1570. Gainesville FL: Florida Museum of Natural History & University Presses of Florida, 1989. 221 pp., Susan Milbrath (eds)-Marvin Lunenfeld, The Libro de las profecías of Christopher Columbus: an en face edition. Delano C. West & August Kling, translation and commentary. Gainesville FL: University of Florida Press, 1991. x + 274 pp.-Suzannah England, Charles R. Ewen, From Spaniard to Creole: the archaeology of cultural formation at Puerto Real, Haiti. Tuscaloosa AL; University of Alabama Press, 1991. xvi + 155 pp.-Piero Gleijeses, Bruce Palmer Jr., Intervention in the Caribbean: the Dominican crisis of 1965. Lexington KY: University Press of Kentucky, 1989.-Piero Gleijeses, Herbert G. Schoonmaker, Military crisis management: U.S. intervention in the Dominican Republic, 1965. Westport CT: Greenwood Press, 1990. 152 pp.-Jacqueline A. Braveboy-Wagner, Fitzroy André Baptiste, War, cooperation, and conflict: the European possessions in the Caribbean, 1939-1945. Westport CT: Greenwood Press, 1988. xiv + 351 pp.-Peter Meel, Paul Sutton, Europe and the Caribbean. London: Macmillan Caribbean, 1991. xii + 260 pp.-Peter Meel, Betty Secoc-Dahlberg, The Dutch Caribbean: prospects for democracy. New York: Gordon and Breach, 1990. xix + 333 pp.-Michiel Baud, Rosario Espinal, Autoritarismo y democracía en la política dominicana. San José, Costa Rica: Ediciones CAPEL, 1987. 208 pp.-A.J.G. Reinders, J.M.R. Schrils, Een democratie in gevaar: een verslag van de situatie op Curacao tot 1987. Assen, Maastricht: Van Gorcum, 1990. xii + 292 pp.-Andrés Serbin, David W. Dent, Handbook of political science research on Latin America: trends from the 1960s to the 1990s. Westport CT: Greenwood, 1990.-D. Gail Saunders, Dean W. Collinwood, The Bahamas between worlds. Decatur IL: White Sound Press, 1989. vii + 119 pp.-D. Gail Saunders, Dean W. Collinwood ,Modern Bahamian society. Parkersburg IA: Caribbean Books, 1989. 278 pp., Steve Dodge (eds)-Peter Hulme, Pierrette Frickey, Critical perspectives on Jean Rhys. Washington DC: Three Continents Press, 1990. 235 pp.-Alvina Ruprecht, Lloyd W. Brown, El Dorado and Paradise: Canada and the Caribbean in Austin Clarke's fiction. Parkersburg IA: Caribbean Books, 1989. xv + 207 pp.-Ineke Phaf, Michiel van Kempen, De Surinaamse literatuur 1970-1985: een documentatie. Paramaribo: Uitgeverij de Volksboekwinkel, 1987. 406 pp.-Genevieve Escure, Barbara Lalla ,Language in exile: three hundred years of Jamaican Creole. Tuscaloosa AL: University of Alabama Press, 1990. xvii + 253 pp., Jean D'Costa (eds)-Charles V. Carnegie, G. Llewellyn Watson, Jamaican sayings: with notes on folklore, aesthetics, and social control.Tallahassee FL: Florida A & M University Press, 1991. xvi + 292 pp.-Donald R. Hill, Kaiso, calypso music. David Rudder in conversation with John La Rose. London: New Beacon Books, 1990. 33 pp.-Mark Sebba, John Victor Singler, Pidgin and creole tense-mood-aspect systems. Amsterdam and Philadelphia: John Benjamins, 1990. xvi + 240 pp.-Dale Tomich, Pedro San Miguel, El mundo que creó el azúcar: las haciendas en Vega Baja, 1800-873. Río Piedras, Puerto Rico: Ediciones Huracán, 1989. 224 pp.-César J. Ayala, Juan José Baldrich, Sembraron la no siembra: los cosecheros de tabaco puertorriqueños frente a las corporaciones tabacaleras, 1920-1934. Río Piedras, Puerto Rico: Ediciones Huracán, 1988.-Robert Forster, Jean-Michel Deveau, La traite rochelaise. Paris: Kathala, 1990. 334 pp.-Ernst van den Boogaart, Johannes Menne Postma, The Dutch in the Atlantic slave trade, 1600-1815. Cambridge: Cambridge University Press, 1990. xiv + 428 pp.-W.E. Renkema, T. van der Lee, Plantages op Curacao en hun eigenaren (1708-1845): namen en data voornamelijk ontleend aan transportakten. Leiden, the Netherlands: Grafaria, 1989. xii + 87 pp.-Mavis C. Campbell, Wim Hoogbergen, The Boni Maroon wars in Suriname. Leiden, the Netherlands: E.J. Brill, 1990. xvii + 254 pp.-Rafael Duharte Jiménez, Carlos Esteban Dieve, Los guerrilleros negros: esclavos fugitivos y cimarrones en Santo Domingo. Santo Domingo: Fundación Cultural Dominicana, 1989. 307 pp.-Rosemarijn Hoefte, Hans Ramsoedh, Suriname 1933-1944: koloniale politiek en beleid onder Gouverneur Kielstra. Delft, the Netherlands: Eburon, 1990. 255 pp.-Gert Oostindie, Kees Lagerberg, Onvoltooid verleden: de dekolonisatie van Suriname en de Nederlandse Antillen. Tilburg, the Netherlands: Instituut voor Ontwikkelingsvraagstukken, Katholieke Universiteit Brabant, 1989. ii + 265 pp.-Aisha Khan, Anthony de Verteuil, Eight East Indian immigrants. Port of Spain: Paria, 1989. xiv + 318 pp.-John Stiles, Willie L. Baber, The economizing strategy: an application and critique. New York: Peter Lang, 1988. xiii + 232 pp.-Faye V. Harrison, M.G. Smith, Poverty in Jamaica. Kingston: Institute of social and economic research, 1989. xxii + 167 pp.-Sidney W. Mintz, Dorian Powell ,Street foods of Kingston. Mona, Jamaica: Institute of social and economic research, 1990. xii + 125 pp., Erna Brodber, Eleanor Wint (eds)-Yona Jérome, Michel S. Laguerre, Urban poverty in the Caribbean: French Martinique as a social laboratory. New York: St. Martin's Press, 1990. xiv + 181 pp.

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-Dennis Walder, Robert D. Hamner, Derek Walcott. New York: Twayne Publishers, 1993. xvi + 199 pp.''Critical perspectives on Derek Walcott. Washington DC: Three continents, 1993. xvii + 482 pp.-Yannick Tarrieu, Lilyan Kesteloot, Black writers in French: A literary history of Negritude. Translated by Ellen Conroy Kennedy. Washington DC: Howard University Press, 1991. xxxiii + 411 pp.-Renée Larrier, Carole Boyce Davies ,Out of the Kumbla: Caribbean women and literature. Trenton NJ: Africa World Press, 1990. xxiii + 399 pp., Elaine Savory Fido (eds)-Renée Larrier, Evelyn O'Callaghan, Woman version: Theoretical approaches to West Indian fiction by women. London: Macmillan Caribbean, 1993. viii + 126 pp.-Lisa Douglass, Carolyn Cooper, Noises in the blood: Orality, gender and the 'vulgar' body of Jamaican popular culture. London: Macmillan Caribbean, 1993. ix + 214 pp.-Christine G.T. Ho, Kumar Mahabir, East Indian women of Trinidad & Tobago: An annotated bibliography with photographs and ephemera. San Juan, Trinidad: Chakra, 1992. vii + 346 pp.-Eva Abraham, Richenel Ansano ,Mundu Yama Sinta Mira: Womanhood in Curacao. Eithel Martis (eds.). Curacao: Fundashon Publikashon, 1992. xii + 240 pp., Joceline Clemencia, Jeanette Cook (eds)-Louis Allaire, Corrine L. Hofman, In search of the native population of pre-Colombian Saba (400-1450 A.D.): Pottery styles and their interpretations. Part one. Amsterdam: Natuurwetenschappelijke Studiekring voor het Caraïbisch Gebied, 1993. xiv + 269 pp.-Frank L. Mills, Bonham C. Richardson, The Caribbean in the wider world, 1492-1992: A regional geography. Cambridge: Cambridge University Press, 1992. xvi + 235 pp.-Frank L. Mills, Thomas D. Boswell ,The Caribbean Islands: Endless geographical diversity. New Brunswick NJ: Rutgers University Press, 1992. viii + 240 pp., Dennis Conway (eds)-Alex van Stipriaan, H.W. van den Doel ,Nederland en de Nieuwe Wereld. Utrecht: Aula, 1992. 348 pp., P.C. Emmer, H.PH. Vogel (eds)-Idsa E. Alegría Ortega, Francine Jácome, Diversidad cultural y tensión regional: América Latina y el Caribe. Caracas: Nueva Sociedad, 1993. 143 pp.-Barbara L. Solow, Ira Berlin ,Cultivation and culture: Labor and the shaping of slave life in the Americas. Charlottesville: University Press of Virginia, 1993. viii + 388 pp., Philip D. Morgan (eds)-Andrew J. O'Shaughnessy, Karen Ordahl Kupperman, Providence Island, 1630-1641: The other puritan colony. Cambridge: Cambridge University Press, 1993. xiii + 393 pp.-Armando Lampe, Johannes Meier, Die Anfänge der Kirche auf den Karibischen Inseln: Die Geschichte der Bistümer Santo Domingo, Concepción de la Vega, San Juan de Puerto Rico und Santiago de Cuba von ihrer Entstehung (1511/22) bis zur Mitte des 17. Jahrhunderts. Immensee: Neue Zeitschrift für Missionswissenschaft, 1991. xxxiii + 313 pp.-Edward L. Cox, Carl C. Campbell, Cedulants and capitulants; The politics of the coloured opposition in the slave society of Trinidad, 1783-1838. Port of Spain, Trinidad: Paria Publishing, 1992. xv + 429 pp.-Thomas J. Spinner, Jr., Basdeo Mangru, Indenture and abolition: Sacrifice and survival on the Guyanese sugar plantations. Toronto: TSAR, 1993. xiii + 146 pp.-Rosemarijn Hoefte, Lila Gobardhan-Rambocus ,Immigratie en ontwikkeling: Emancipatie van contractanten. Paramaribo: Anton de Kom Universiteit, 1993. 262 pp., Maurits S. Hassankhan (eds)-Juan A. Giusti-Cordero, Teresita Martínez-Vergne, Capitalism in colonial Puerto Rico: Central San Vicente in the late nineteenth century. Gainesville: University Press of Florida, 1992. 189 pp.-Jean Pierre Sainton, Henriette Levillain, La Guadeloupe 1875 -1914: Les soubresauts d'une société pluriethnique ou les ambiguïtés de l'assimilation. Paris: Autrement, 1994. 241 pp.-Michèle Baj Strobel, Solange Contour, Fort de France au début du siècle. Paris: L'Harmattan, 1994. 224 pp.-Betty Wood, Robert J. Stewart, Religion and society in post-emancipation Jamaica. Knoxville: University of Tennessee Press, 1992. xx + 254 pp.-O. Nigel Bolland, Michael Havinden ,Colonialism and development: Britain and its tropical colonies, 1850-1960. New York: Routledge, 1993. xv + 420 pp., David Meredith (eds)-Luis Martínez-Fernández, Luis Navarro García, La independencia de Cuba. Madrid: MAPFRE, 1992. 413 pp.-Pedro A. Pequeño, Guillermo J. Grenier ,Miami now! : Immigration, ethnicity, and social change. Gainesville: University Press of Florida, 1992. 219 pp., Alex Stepick III (eds)-George Irving, Alistair Hennessy ,The fractured blockade: West European-Cuban relations during the revolution. London: Macmillan Caribbean, 1993. xv + 358 pp., George Lambie (eds)-George Irving, Donna Rich Kaplowitz, Cuba's ties to a changing world. Boulder CO: Lynne Rienner, 1993, xii + 263 pp.-G.B. Hagelberg, Scott B. MacDonald ,The politics of the Caribbean basin sugar trade. New York: Praeger, 1991. vii + 164 pp., Georges A. Fauriol (eds)-Bonham C. Richardson, Trevor W. Purcell, Banana Fallout: Class, color, and culture among West Indians in Costa Rica. Los Angeles: UCLA Center for Afro-American studies, 1993. xxi + 198 pp.-Gertrude Fraser, George Gmelch, Double Passage: The lives of Caribbean migrants abroad and back home. Ann Arbor: University of Michigan Press, 1992. viii + 335 pp.-Gertrude Fraser, John Western, A passage to England: Barbadian Londoners speak of home. Minneapolis: University of Minnesota Press, 1992. xxii + 309 pp.-Trevor W. Purcell, Harry G. Lefever, Turtle Bogue: Afro-Caribbean life and culture in a Costa Rican Village. Cranbury NJ: Susquehanna University Press, 1992. 249 pp.-Elizabeth Fortenberry, Virginia Heyer Young, Becoming West Indian: Culture, self, and nation in St. Vincent. Washington DC: Smithsonian Institution Press, 1993. x + 229 pp.-Horace Campbell, Dudley J. Thompson ,From Kingston to Kenya: The making of a Pan-Africanist lawyer. Dover MA: The Majority Press, 1993. xii + 144 pp., Margaret Cezair Thompson (eds)-Kumar Mahabir, Samaroo Siewah, The lotus and the dagger: The Capildeo speeches (1957-1994). Port of Spain: Chakra Publishing House, 1994. 811 pp.-Donald R. Hill, Forty years of steel: An annotated discography of steel band and Pan recordings, 1951-1991. Jeffrey Thomas (comp.). Westport CT: Greenwood, 1992. xxxii + 307 pp.-Jill A. Leonard, André Lucrèce, Société et modernité: Essai d'interprétation de la société martiniquaise. Case Pilote, Martinique: Editions de l'Autre Mer, 1994. 188 pp.-Dirk H. van der Elst, Ben Scholtens ,Gaama Duumi, Buta Gaama: Overlijden en opvolging van Aboikoni, grootopperhoofd van de Saramaka bosnegers. Stanley Dieko. Paramaribo: Afdeling Cultuurstudies/Minov; Amsterdam: Koninklijk Instituut voor de Tropen, 1992. 204 pp., Gloria Wekker, Lady van Putten (eds)-Rosemarijn Hoefte, Chandra van Binnendijk ,Sranan: Cultuur in Suriname. Amsterdam: Koninklijk Instituut voor de Tropen/Rotterdam: Museum voor Volkenkunde, 1992. 159 pp., Paul Faber (eds)-Harold Munneke, A.J.A. Quintus Bosz, Grepen uit de Surinaamse rechtshistorie. Paramaribo: Vaco, 1993. 176 pp.-Harold Munneke, Irvin Kanhai ,Strijd om grond in Suriname: Verkenning van het probleem van de grondenrechten van Indianen en Bosnegers. Paramaribo, 1993, 200 pp., Joyce Nelson (eds)-Ronald Donk, J. Hartog, De geschiedenis van twee landen: De Nederlandse Antillen en Aruba. Zaltbommel: Europese Bibliotheek, 1993. 183 pp.-Aart G. Broek, J.J. Oversteegen, In het schuim van grauwe wolken: Het leven van Cola Debrot tot 1948. Amsterdam: Muelenhoff, 1994. 556 pp.''Gemunt op wederkeer: Het leven van Cola Debrot vanaf 1948. Amsterdam: Muelenhoff, 1994. 397 pp.

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This article examines Norman Levine’s start as a writer while he studied at McGill University from 1946 to 1949 and traces how Levine used his McGill memories afterwards in his writing. We look at Levine’s early poetry and prose; his use of his wartime RCAF flying experience in Britain (foreshadowing his autobiographical fiction); his editorship of the literary magazine Forge and McGill Daily Literary Supplement; his mentor Professor Harold Files; and his M.A. thesis on Ezra Pound. We follow him as he drafts his first novel, The Angled Road and sketches another one; searches for his own literary voice; happily leaves Canada for England; and abandons academe after a frustrating year (1949-50) at the University of London. The article also explores how he used McGill friends and professors as starting points for characters in his stories and thinly disguised them in his nonfictional Canada Made Me. Nostalgic and critical, he said he had enjoyed McGill but could not take it seriously, and blamed the University for giving his writing a false start and seducing him into forgeting his Jewish, working-class roots.ResuméL’écriture de Norman Levine remonte aux années 1946 à 1949, l’époque à laquelle il étudiait à l’Université McGill. Cet article examine le début de sa carrière d’auteur et trace l’influence que ses souvenirs de McGill ont eu plus tard sur ses œuvres. Nous étudions ses premiers travaux en prose et en poésie; son utilisation de son expérience à titre d’aviateur dans le Corps d’aviation royal canadien (qui anticipe sa fiction autobiographique); ses activités d’éditeur des magazines littéraires Forge et McGill Daily Literary Supplement; son guide, le professeur Harold Files; et sa thèse de maîtrise sur Ezra Pound. Nous le suivons alors qu’il rédige une ébauche de son premier roman, The Angled Road, et trace l’esquisse d’un second; qu’il recherche sa propre voix littéraire; qu’il quitte le Canada avec plaisir pour l’Angleterre; et qu’il abandonne le monde universitaire après une année frustrante (1949-1950) à l’Université de Londres. L’article explore aussi la façon dont il a utilisé ses amis et professeurs à McGill comme point de départ pour les personnages dans ses histoires, et les a légèrement déguisé dans son œuvre non romanesque Canada Made Me. Nostalgique et critique, il a déclaré qu’il a aimé McGill mais qu’il ne pouvait pas la prendre au sérieux, et que c’est à cause de l’Université que son écriture s’est dirigée sur une fausse piste et qu’il a oublié ses racines juives de classe ouvrière.

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Abstract Despite a growing body of scholarship on finance and fiction, Malvery’s The Speculator has not yet received the critical attention it deserves. In this article, I undertake the first detailed analysis of Malvery’s fictional foray into the world of finance, centred on the story of a female stockbroker operating in disguise in the City of London. The first section of the article focuses on late nineteenth-century and early Edwardian novels of finance, chiefly concerned with deploring the cunning ruses of company promoters, and provides a brief overview of their representations of the ‘popular investor’. I then analyse how the cross-dressing masquerade is orchestrated and tested in The Speculator, culminating in a scene of violence that takes place at the Stock Exchange and exposes the threat of physical force underpinning discriminatory regulation. The final section argues that the swerve towards the spy thriller, a popular genre in Edwardian England, allows Malvery to contain and disperse the fear of violence, the crude underside of the cross-dressing act, and to go on envisioning for her intrepid heroine ever more incredible adventures with geopolitical implications. By attending closely to the novel’s hybrid formal structure, my reading suggests that a good deal of fictionalizing was necessary to imagine the protagonism of women in the money market, at a time when their role as investors was no longer exceptional, but their inclusion into the circle of active financial players was still a matter of dispute.

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When the National Trust was established in 1895 its founders, Canon Rawnsley, Sir Robert Hunter and Octavia Hill, were, as Cannadine notes, “primarily concerned with preserving open spaces of outstanding natural beauty which were threatened with development or spoliation.” This was because, like Ruskin, Morris and “many of their contemporaries, they believed that the essence of Englishness was to be found in the fields and hedgerows, not in the suburbs and slums” (Cannadine 227). It was important to protect these sites of beauty and historical interest from development not only for what they were but for what they purportedly represented—an irreplaceable repository of the nation’s “spiritual values”, and thus a vital antidote to the “base materialism” of the day. G.M. Trevelyan, who I am quoting here, noted in two pieces written on behalf of the Trust in the 1920s and 30s, that the “inexorable rise of bricks and mortar” and the “full development of motor traffic” were laying waste to the English countryside. In the face of this assault on England’s heartland, the National Trust provided “an ark of refuge” safeguarding the nation’s cherished physical heritage and preserving its human cargo from the rising waters of materialism and despair (qtd. in Cannadine 231-2).Despite the extension of the road network and increasing private ownership of cars (up from 200,000 registrations in 1918 to “well over one million” in 1930), physical distance and economic hardship denied the majority of the urban population access to the countryside (Taylor 217). For the urban working classes recently or distantly displaced from the land, the dream of a return to rural roots was never more than a fantasy. Ford Madox Ford observed that “the poor and working classes of the towns never really go back” (Ford 58).Through the later nineteenth century the rural nostalgia once most prevalent among the working classes was increasingly noted as a feature of middle class sensibility. Better educated, with more leisure time and money at their disposal, these sentimental ruralists furnished a ready market for a new consumer phenomenon—the commodification of the English countryside and the packaging of the values it notionally embodied. As Valentine Cunningham observes, this was not always an edifying spectacle. By the late 1920s, “the terrible sounds of ‘Ye Olde England’ can already be heard, just off-stage, knocking together its thatched wayside stall where plastic pixies, reproduction beer-mugs, relics of Shakespeare and corn-dollies would soon be on sale” (Cunningham 229). Alongside the standard tourist tat, and the fiction and poetry that romanticised the rural world, a new kind of travel writing emerged around the turn of the century. Through an analysis of early-twentieth century notions of Englishness, this paper considers how the north struggled to find a place in H.V. Morton’s In Search of England (1927).In Haunts of Ancient Peace (1901), the Poet Laureate, Alfred Austin, described a journey through “Old England” as a cultural pilgrimage in quest of surviving vestiges of the nation’s essential identity, “or so much of it as is left” (Austin 18). Austin’s was an early example of what had, by the 1920s and 30s become a “boom market … in books about the national character, traditions and antiquities, usually to be found in the country” (Wiener 73). Longmans began its “English Heritage” series in 1929, introduced by the Prime Minister, Stanley Baldwin, with volumes on “English humour, folk song and dance, the public school, the parish church, [and] wild life”. A year later Batsford launched its series of books on “English Life” with volumes featuring “the countryside, Old English household life, inns, villages, and cottages” (Wiener 73). There was an outpouring of books with an overtly conservationist agenda celebrating journeys through or periods of residence in the countryside, many of them written by “soldiers like Henry Williamson and Edmund Blunden, who returned from the First War determined to preserve the rural England they’d known” (Cunningham 229; Blunden, Face, England; Roberts, Pilgrim, Gone ; Williamson). In turn, these books engendered an efflorescence of critical analyses of the construction of England (Hamilton; Haddow; Keith; Cavaliero; Gervais; Giles and Middleton; Westall and Gardiner).By the 1920s it was clear that a great many people thought they knew what England was, where it might be found, and if threatened, which parts of it needed to be rescued in order to safeguard the survival of its essential identity. By the same point, there were large numbers who felt, in Patrick Wright’s words, that “Some areas of the nation had been lost forever and in these no one should expect to find the traditional nation at all” (Wright 87).A key guide to the nation’s sacred sites in this period, an inventory of their relics, and an illustration of how its lost regions might be rescued for or erased from its cultural map, was provided in H.V. Morton’s In Search of England (1927). Initially published as a series of articles in the Daily Express in 1926, In Search of England went through nine editions in the two and a half years after its appearance in book form in 1927. With sales in excess of a million copies, as John Brannigan notes, the book went through a further twenty editions by 1943, and has remained continuously in print since (Brannigan).In his introduction Morton proposes In Search of England is simply “the record of a motor-car journey round England … written without deliberation by the roadside, on farmyard walls, in cathedrals, in little churchyards, on the washstands of country inns, and in many another inconvenient place” (Morton vii). As C.R. Perry notes, “This is a happy image, but also a misleading one” (Perry 434) for there was nothing arbitrary about Morton’s progress. Even a cursory glance at the map of his journey confirms, the England that Morton went in search of was overwhelmingly rural or coastal, and embodied in the historic villages and ancient towns of the Midlands or South.Morton’s biographer, Michael Bartholomew suggests that the “nodal points” of Morton’s journey are the “cathedral cities” (Bartholomew 105).Despite claims to the contrary, his book was written with deliberation and according to a specific cultural objective. Morton’s purpose was not to discover his homeland but to confirm a vision that he and millions of others cherished. He was not in search of England so much as reassuring himself and his readers that in spite of the depredations of the factory and the motor vehicle, it was still out there. These aims determined Morton’s journey; how long he spent in differing parts, what he recorded, and how he presented landscapes, buildings, people and material culture.Morton’s determination to celebrate England as rural and ancient needed to negotiate the journey north into an industrial landscape better known for its manufacturing cities, mining and mill towns, and the densely packed streets of the poor and working classes. Unable to either avoid or ignore this north, Morton needed to settle upon a strategy of passing through it without disturbing his vision of the rural idyll. Narratively, Morton’s touring through the south and west of the country is conducted at a gentle pace. In my 1930 edition of the text, it takes 185 of the book’s 280 pages to bring him from London via the South Coast, Cornwall, the Cotswolds and the Welsh marches, to Chester. The instant Morton crosses the Lancashire border, his bull-nosed Morris accelerates through the extensive northern counties in a mere thirty pages: Warrington to Carlisle (with a side trip to Gretna Green), Carlisle to Durham, and Durham to Lincoln. The final sixty-five pages return to the more leisurely pace of the south and west through Norfolk and the East Midlands, before the journey is completed in an unnamed village somewhere between Stratford upon Avon and Warwick. Morton spends 89 per cent of the text in the South and Midlands (66 per cent and 23 per cent respectively) with only 11 per cent given over to his time in the north.If, as Genette has pointed out, narrative deceleration results in the descriptive pause, it is no coincidence that this is the recurring set piece of Morton’s treatment of the south and west as opposed to the north. His explorations take dwelling moments on river banks and hill tops, in cathedral closes and castle ruins to honour the genius loci and imagine earlier times. On Plymouth Hoe he sees, in his mind’s eye, Sir Walter Raleigh’s fleet set sail to take on the Armada; at Tintagel it is Arthur, wild and Celtic, scaling the cliffs, spear in hand; at Buckler’s Hard amid the rotting slipways he imagines the “stout oak-built ships which helped to found the British Empire”, setting out on their journeys of conquest (Morton 39). At the other extreme, Genette observes, that narrative acceleration produces ellipsis, where details are omitted in order to render a more compact and striking expression. It is the principle of ellipsis, of selective omission, which compresses the geography of Morton’s journey through the north with the effect of shaping reader experiences. Morton hurries past the north’s industrial areas—shuddering at the sight of smoke or chimneys and averting his gaze from factory and slum.As he crosses the border from Cheshire into Lancashire, Morton reflects that “the traveller enters Industrial England”—not that you would know it from his account (Morton 185). Heading north towards the Lake District, he steers a determined path between “red smoke stacks” rising on one side and an “ominous grey haze” on the other, holding to a narrow corridor of rural land where, to his relief, he observes men “raking hay in a field within gunshot of factory chimneys” (Morton 185-6). These redolent, though isolated, farmhands are of greater cultural moment than the citadels of industry towering on either side of them. While the chimneys might symbolise the nation’s economic potency, the farmhands embody the survival of its essential cultural and moral qualities. In an allusion to the Israelites’ passage through the Red Sea from the Book of Exodus, the land that the workers tend holds back the polluted tide of industry, furnishing relief from the factory and the slum, granting Morton safe passage through the perils of modernity and into the Promised Land–or at least the Lake District. In Morton’s view this green belt is not only more essentially English than trade and industry, it is also expresses a nobler and more authentic Englishness.The “great industrial new-rich cities of northern England—vast and mighty as they are,” Morton observes, “fall into perspective as mere black specks against the mighty background of history and the great green expanse of fine country which is the real North of England” (Morton 208). Thus, the rural land between Manchester and Liverpool expands into a sea of green as the great cities shrink on the horizon, and the north is returned to its origins.What Morton cannot speed past or ignore, what he is compelled or chooses to confront, he transforms, through the agency of history, into something that he and England can bear to own. Tempted into Wigan by its reputation as a comic nowhere-land, a place whose name conjured a thousand music hall gags, Morton confesses that he had expected to find there another kind of cliché, “the apex of the world’s pyramid of gloom … dreary streets and stagnant canals and white-faced Wigonians dragging their weary steps along dull streets haunted by the horror of the place in which they are condemned to live” (Morton 187).In the process of naming what he dreads, Morton does not describe Wigan: he exorcises his deepest fears about what it might hold and offers an incantation intended to hold them at bay. He “discovers” Wigan is not the industrial slum but “a place which still bears all the signs of an old-fashioned country town” (Morton 188). Morton makes no effort to describe Wigan as it is, any more than he describes the north as a whole: he simply overlays them with a vision of them as they should be—he invents the Wigan and the north that he and England need.Having surveyed parks and gardens, historical monuments and the half-timbered mock-Tudor High Street, Morton returns to his car and the road where, with an audible sigh of relief, he finds: “Within five minutes of notorious Wigan we were in the depth of the country,” and that “on either side were fields in which men were making hay” (Morton 189).In little more than three pages he passes from one set of haymakers, south of town, to another on its north. The green world has all but smoothed over the industrial eyesore, and the reader, carefully chaperoned by Morton, can pass on to the Lake District having barely glimpsed the realities of industry and urbanism, reassured that if this is the worst that the north has to show then the rural heartland and the essential identity it sustains are safe. Paradoxically, instead of invalidating his account, Morton’s self-evident exclusions and omissions seem only to have fuelled its popularity.For readers of the Daily Express in the months leading up to and immediately after the General Strike of 1926, the myth of England that Morton proffered, of an unspoilt village where old values and traditional hierarchies still held true, was preferable to the violently polarised urban battlefields that the strike had revealed. As the century progressed and the nation suffered depression, war, and a steady decline in its international standing, as industry, suburban sprawl and the irresistible spread of motorways and traffic blighted the land, Morton’s England offered an imagined refuge, a real England that somehow, magically resisted the march of time.Yet if it was Morton’s triumph to provide England with a vision of its ideal spiritual home, it was his tragedy that this portrait of it hastened the devastation of the cultural survivals he celebrated and sought to preserve: “Even as the sense of idyll and peace was maintained, the forces pulling in another direction had to be acknowledged” (Taylor 74).In his introduction to the 1930 edition of In Search of England Morton approvingly acknowledged that a new enthusiasm for the nation’s history and heritage was abroad and that “never before have so many people been searching for England.” In the next sentence he goes on to laud the “remarkable system of motor-coach services which now penetrates every part of the country [and] has thrown open to ordinary people regions which even after the coming of the railways were remote and inaccessible” (Morton vii).Astonishingly, as the waiting charabancs roared their engines and the village greens of England enjoyed the last hours of their tranquillity, Morton somehow failed to make the obvious connection between these unique cultural and social phenomena or take any measure of their potential consequences. His “motoring pastoral” did more than alert the barbarians to the existence of the nation’s hidden treasures, as David Matless notes it provided them with a route map, itinerary and behavioural guide for their pillages (Matless 64; Peach; Batsford).Yet while cultural preservationists wrung their hands in horror at the advent of the day-tripper slouching towards Barnstaple, for Morton this was never a cause for concern. The nature of his journey and the form of its representation demonstrate that the England he worshipped was more an imaginary than a physical space, an ideal whose precise location no chart could fix and no touring party defile. ReferencesAustin, Alfred. Haunts of Ancient Peace. London: Macmillan, 1902.Bartholomew, Michael. In Search of H.V. Morton. London: Methuen, 2004.Batsford, Harry. How to See the Country. London: B.T. Batsford, 1940.Blunden, Edmund. The Face of England: In a Series of Occasional Sketches. London: Longmans, 1932.———. English Villages. London: Collins, 1942.Brannigan, John. “‘England Am I …’ Eugenics, Devolution and Virginia Woolf’s Between the Acts.” The Palgrave Macmillan Literature of an Independent England: Revisions of England, Englishness and English Literature. Eds. Claire Westall and Michael Gardiner. Houndmills: Palgrave Macmillan, 2013.Cannadine, David. In Churchill’s Shadow: Confronting the Past in Modern Britain. London: Penguin, 2002.Cavaliero, Glen. The Rural Tradition in the English Novel 1900-1939. Totowa, NJ: Rowman and Littlefield, 1977.Cunningham, Valentine. British Writers of the Thirties. Oxford: Oxford University Press, 1988.Ford, Ford Madox. The Heart of the Country: A Survey of a Modern Land. London: Alston Rivers, 1906.Gervais, David. Literary Englands. Cambridge: Cambridge University Press, 1993.Giles, J., and T. Middleton, eds. Writing Englishness. London: Routledge, 1995.Haddow, Elizabeth. “The Novel of English Country Life, 1900-1930.” Dissertation. London: University of London, 1957.Hamilton, Robert. W.H. Hudson: The Vision of Earth. New York: Kennikat Press, 1946.Keith, W.J. Richard Jefferies: A Critical Study. Toronto: Toronto University Press, 1965.Lewis, Roy, and Angus Maude. The English Middle Classes. Harmondsworth: Penguin, 1949.Matless, David. Landscape and Englishness. London: Reaktion Books, 1998.Morris, Margaret. The General Strike. Harmondsworth: Penguin, 1976.Morton, H.V. In Search of England. London: Methuen, 1927.Peach, H. Let Us Tidy Up. Leicester: The Dryad Press, 1930.Perry, C.R. “In Search of H.V. Morton: Travel Writing and Cultural Values in the First Age of British Democracy.” Twentieth Century British History 10.4 (1999): 431-56.Roberts, Cecil. Pilgrim Cottage. London: Hodder and Stoughton, 1933.———. Gone Rustic. London: Hodder and Stoughton, 1934.Taylor, A.J.P. England 1914-1945. The Oxford History of England XV. Oxford: Oxford University Press, 1975.Taylor, John. War Photography: Realism in the British Press. London: Routledge, 1991.Wiener, Martin. English Culture and the Decline of the Industrial Spirit, 1850-1980. 2nd ed. Cambridge: Cambridge University Press, 2004.Williamson, Henry. The Village Book. London: Jonathan Cape, 1930.Wright, Patrick. A Journey through Ruins: A Keyhole Portrait of British Postwar Life and Culture. London: Flamingo, 1992.

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Introduction Crime fiction is one of the world’s most popular genres. Indeed, it has been estimated that as many as one in every three new novels, published in English, is classified within the crime fiction category (Knight xi). These new entrants to the market are forced to jostle for space on bookstore and library shelves with reprints of classic crime novels; such works placed in, often fierce, competition against their contemporaries as well as many of their predecessors. Raymond Chandler, in his well-known essay The Simple Art of Murder, noted Ernest Hemingway’s observation that “the good writer competes only with the dead. The good detective story writer […] competes not only with all the unburied dead but with all the hosts of the living as well” (3). In fact, there are so many examples of crime fiction works that, as early as the 1920s, one of the original ‘Queens of Crime’, Dorothy L. Sayers, complained: It is impossible to keep track of all the detective-stories produced to-day [sic]. Book upon book, magazine upon magazine pour out from the Press, crammed with murders, thefts, arsons, frauds, conspiracies, problems, puzzles, mysteries, thrills, maniacs, crooks, poisoners, forgers, garrotters, police, spies, secret-service men, detectives, until it seems that half the world must be engaged in setting riddles for the other half to solve (95). Twenty years after Sayers wrote on the matter of the vast quantities of crime fiction available, W.H. Auden wrote one of the more famous essays on the genre: The Guilty Vicarage: Notes on the Detective Story, by an Addict. Auden is, perhaps, better known as a poet but his connection to the crime fiction genre is undisputed. As well as his poetic works that reference crime fiction and commentaries on crime fiction, one of Auden’s fellow poets, Cecil Day-Lewis, wrote a series of crime fiction novels under the pseudonym Nicholas Blake: the central protagonist of these novels, Nigel Strangeways, was modelled upon Auden (Scaggs 27). Interestingly, some writers whose names are now synonymous with the genre, such as Edgar Allan Poe and Raymond Chandler, established the link between poetry and crime fiction many years before the publication of The Guilty Vicarage. Edmund Wilson suggested that “reading detective stories is simply a kind of vice that, for silliness and minor harmfulness, ranks somewhere between crossword puzzles and smoking” (395). In the first line of The Guilty Vicarage, Auden supports Wilson’s claim and confesses that: “For me, as for many others, the reading of detective stories is an addiction like tobacco or alcohol” (406). This indicates that the genre is at best a trivial pursuit, at worst a pursuit that is bad for your health and is, increasingly, socially unacceptable, while Auden’s ideas around taste—high and low—are made clear when he declares that “detective stories have nothing to do with works of art” (406). The debates that surround genre and taste are many and varied. The mid-1920s was a point in time which had witnessed crime fiction writers produce some of the finest examples of fiction to ever be published and when readers and publishers were watching, with anticipation, as a new generation of crime fiction writers were readying themselves to enter what would become known as the genre’s Golden Age. At this time, R. Austin Freeman wrote that: By the critic and the professedly literary person the detective story is apt to be dismissed contemptuously as outside the pale of literature, to be conceived of as a type of work produced by half-educated and wholly incompetent writers for consumption by office boys, factory girls, and other persons devoid of culture and literary taste (7). This article responds to Auden’s essay and explores how crime fiction appeals to many different tastes: tastes that are acquired, change over time, are embraced, or kept as guilty secrets. In addition, this article will challenge Auden’s very narrow definition of crime fiction and suggest how Auden’s religious imagery, deployed to explain why many people choose to read crime fiction, can be incorporated into a broader popular discourse on punishment. This latter argument demonstrates that a taste for crime fiction and a taste for justice are inextricably intertwined. Crime Fiction: A Type For Every Taste Cathy Cole has observed that “crime novels are housed in their own section in many bookshops, separated from literary novels much as you’d keep a child with measles away from the rest of the class” (116). Times have changed. So too, have our tastes. Crime fiction, once sequestered in corners, now demands vast tracts of prime real estate in bookstores allowing readers to “make their way to the appropriate shelves, and begin to browse […] sorting through a wide variety of very different types of novels” (Malmgren 115). This is a result of the sheer size of the genre, noted above, as well as the genre’s expanding scope. Indeed, those who worked to re-invent crime fiction in the 1800s could not have envisaged the “taxonomic exuberance” (Derrida 206) of the writers who have defined crime fiction sub-genres, as well as how readers would respond by not only wanting to read crime fiction but also wanting to read many different types of crime fiction tailored to their particular tastes. To understand the demand for this diversity, it is important to reflect upon some of the appeal factors of crime fiction for readers. Many rules have been promulgated for the writers of crime fiction to follow. Ronald Knox produced a set of 10 rules in 1928. These included Rule 3 “Not more than one secret room or passage is allowable”, and Rule 10 “Twin brothers, and doubles generally, must not appear unless we have been duly prepared for them” (194–6). In the same year, S.S. Van Dine produced another list of 20 rules, which included Rule 3 “There must be no love interest: The business in hand is to bring a criminal to the bar of justice, not to bring a lovelorn couple to the hymeneal altar”, and Rule 7 “There simply must be a corpse in a detective novel, and the deader the corpse the better” (189–93). Some of these directives have been deliberately ignored or have become out-of-date over time while others continue to be followed in contemporary crime writing practice. In sharp contrast, there are no rules for reading this genre. Individuals are, generally, free to choose what, where, when, why, and how they read crime fiction. There are, however, different appeal factors for readers. The most common of these appeal factors, often described as doorways, are story, setting, character, and language. As the following passage explains: The story doorway beckons those who enjoy reading to find out what happens next. The setting doorway opens widest for readers who enjoy being immersed in an evocation of place or time. The doorway of character is for readers who enjoy looking at the world through others’ eyes. Readers who most appreciate skilful writing enter through the doorway of language (Wyatt online). These doorways draw readers to the crime fiction genre. There are stories that allow us to easily predict what will come next or make us hold our breath until the very last page, the books that we will cheerfully lend to a family member or a friend and those that we keep close to hand to re-read again and again. There are settings as diverse as country manors, exotic locations, and familiar city streets, places we have been and others that we might want to explore. There are characters such as the accidental sleuth, the hardboiled detective, and the refined police officer, amongst many others, the men and women—complete with idiosyncrasies and flaws—who we have grown to admire and trust. There is also the language that all writers, regardless of genre, depend upon to tell their tales. In crime fiction, even the most basic task of describing where the murder victim was found can range from words that convey the genteel—“The room of the tragedy” (Christie 62)—to the absurd: “There it was, jammed between a pallet load of best export boneless beef and half a tonne of spring lamb” (Maloney 1). These appeal factors indicate why readers might choose crime fiction over another genre, or choose one type of crime fiction over another. Yet such factors fail to explain what crime fiction is or adequately answer why the genre is devoured in such vast quantities. Firstly, crime fiction stories are those in which there is the committing of a crime, or at least the suspicion of a crime (Cole), and the story that unfolds revolves around the efforts of an amateur or professional detective to solve that crime (Scaggs). Secondly, crime fiction offers the reassurance of resolution, a guarantee that from “previous experience and from certain cultural conventions associated with this genre that ultimately the mystery will be fully explained” (Zunshine 122). For Auden, the definition of the crime novel was quite specific, and he argued that referring to the genre by “the vulgar definition, ‘a Whodunit’ is correct” (407). Auden went on to offer a basic formula stating that: “a murder occurs; many are suspected; all but one suspect, who is the murderer, are eliminated; the murderer is arrested or dies” (407). The idea of a formula is certainly a useful one, particularly when production demands—in terms of both quality and quantity—are so high, because the formula facilitates creators in the “rapid and efficient production of new works” (Cawelti 9). For contemporary crime fiction readers, the doorways to reading, discussed briefly above, have been cast wide open. Stories relying upon the basic crime fiction formula as a foundation can be gothic tales, clue puzzles, forensic procedurals, spy thrillers, hardboiled narratives, or violent crime narratives, amongst many others. The settings can be quiet villages or busy metropolises, landscapes that readers actually inhabit or that provide a form of affordable tourism. These stories can be set in the past, the here and now, or the future. Characters can range from Edgar Allan Poe’s C. Auguste Dupin to Dashiell Hammett’s Sam Spade, from Agatha Christie’s Miss Jane Marple to Kerry Greenwood’s Honourable Phryne Fisher. Similarly, language can come in numerous styles from the direct (even rough) words of Carter Brown to the literary prose of Peter Temple. Anything is possible, meaning everything is available to readers. For Auden—although he required a crime to be committed and expected that crime to be resolved—these doorways were only slightly ajar. For him, the story had to be a Whodunit; the setting had to be rural England, though a college setting was also considered suitable; the characters had to be “eccentric (aesthetically interesting individuals) and good (instinctively ethical)” and there needed to be a “completely satisfactory detective” (Sherlock Holmes, Inspector French, and Father Brown were identified as “satisfactory”); and the language descriptive and detailed (406, 409, 408). To illustrate this point, Auden’s concept of crime fiction has been plotted on a taxonomy, below, that traces the genre’s main developments over a period of three centuries. As can be seen, much of what is, today, taken for granted as being classified as crime fiction is completely excluded from Auden’s ideal. Figure 1: Taxonomy of Crime Fiction (Adapted from Franks, Murder 136) Crime Fiction: A Personal Journey I discovered crime fiction the summer before I started high school when I saw the film version of The Big Sleep starring Humphrey Bogart and Lauren Bacall. A few days after I had seen the film I started reading the Raymond Chandler novel of the same title, featuring his famous detective Philip Marlowe, and was transfixed by the second paragraph: The main hallway of the Sternwood place was two stories high. Over the entrance doors, which would have let in a troop of Indian elephants, there was a broad stained-glass panel showing a knight in dark armour rescuing a lady who was tied to a tree and didn’t have any clothes on but some very long and convenient hair. The knight had pushed the visor of his helmet back to be sociable, and he was fiddling with the knots on the ropes that tied the lady to the tree and not getting anywhere. I stood there and thought that if I lived in the house, I would sooner or later have to climb up there and help him. He didn’t seem to be really trying (9). John Scaggs has written that this passage indicates Marlowe is an idealised figure, a knight of romance rewritten onto the mean streets of mid-20th century Los Angeles (62); a relocation Susan Roland calls a “secular form of the divinely sanctioned knight errant on a quest for metaphysical justice” (139): my kind of guy. Like many young people I looked for adventure and escape in books, a search that was realised with Raymond Chandler and his contemporaries. On the escapism scale, these men with their stories of tough-talking detectives taking on murderers and other criminals, law enforcement officers, and the occasional femme fatale, were certainly a sharp upgrade from C.S. Lewis and the Chronicles of Narnia. After reading the works written by the pioneers of the hardboiled and roman noir traditions, I looked to other American authors such as Edgar Allan Poe who, in the mid-1800s, became the father of the modern detective story, and Thorne Smith who, in the 1920s and 1930s, produced magical realist tales with characters who often chose to dabble on the wrong side of the law. This led me to the works of British crime writers including Arthur Conan Doyle, Agatha Christie, and Dorothy L. Sayers. My personal library then became dominated by Australian writers of crime fiction, from the stories of bushrangers and convicts of the Colonial era to contemporary tales of police and private investigators. There have been various attempts to “improve” or “refine” my tastes: to convince me that serious literature is real reading and frivolous fiction is merely a distraction. Certainly, the reading of those novels, often described as classics, provide perfect combinations of beauty and brilliance. Their narratives, however, do not often result in satisfactory endings. This routinely frustrates me because, while I understand the philosophical frameworks that many writers operate within, I believe the characters of such works are too often treated unfairly in the final pages. For example, at the end of Ernest Hemingway’s A Farewell to Arms, Frederick Henry “left the hospital and walked back to the hotel in the rain” after his son is stillborn and “Mrs Henry” becomes “very ill” and dies (292–93). Another example can be found on the last page of George Orwell’s Nineteen Eighty-Four when Winston Smith “gazed up at the enormous face” and he realised that he “loved Big Brother” (311). Endings such as these provide a space for reflection about the world around us but rarely spark an immediate response of how great that world is to live in (Franks Motive). The subject matter of crime fiction does not easily facilitate fairy-tale finishes, yet, people continue to read the genre because, generally, the concluding chapter will show that justice, of some form, will be done. Punishment will be meted out to the ‘bad characters’ that have broken society’s moral or legal laws; the ‘good characters’ may experience hardships and may suffer but they will, generally, prevail. Crime Fiction: A Taste For Justice Superimposed upon Auden’s parameters around crime fiction, are his ideas of the law in the real world and how such laws are interwoven with the Christian-based system of ethics. This can be seen in Auden’s listing of three classes of crime: “(a) offenses against God and one’s neighbor or neighbors; (b) offenses against God and society; (c) offenses against God” (407). Murder, in Auden’s opinion, is a class (b) offense: for the crime fiction novel, the society reflected within the story should be one in “a state of grace, i.e., a society where there is no need of the law, no contradiction between the aesthetic individual and the ethical universal, and where murder, therefore, is the unheard-of act which precipitates a crisis” (408). Additionally, in the crime novel “as in its mirror image, the Quest for the Grail, maps (the ritual of space) and timetables (the ritual of time) are desirable. Nature should reflect its human inhabitants, i.e., it should be the Great Good Place; for the more Eden-like it is, the greater the contradiction of murder” (408). Thus, as Charles J. Rzepka notes, “according to W.H. Auden, the ‘classical’ English detective story typically re-enacts rites of scapegoating and expulsion that affirm the innocence of a community of good people supposedly ignorant of evil” (12). This premise—of good versus evil—supports Auden’s claim that the punishment of wrongdoers, particularly those who claim the “right to be omnipotent” and commit murder (409), should be swift and final: As to the murderer’s end, of the three alternatives—execution, suicide, and madness—the first is preferable; for if he commits suicide he refuses to repent, and if he goes mad he cannot repent, but if he does not repent society cannot forgive. Execution, on the other hand, is the act of atonement by which the murderer is forgiven by society (409). The unilateral endorsem*nt of state-sanctioned murder is problematic, however, because—of the main justifications for punishment: retribution; deterrence; incapacitation; and rehabilitation (Carter Snead 1245)—punishment, in this context, focuses exclusively upon retribution and deterrence, incapacitation is achieved by default, but the idea of rehabilitation is completely ignored. This, in turn, ignores how the reading of crime fiction can be incorporated into a broader popular discourse on punishment and how a taste for crime fiction and a taste for justice are inextricably intertwined. One of the ways to explore the connection between crime fiction and justice is through the lens of Emile Durkheim’s thesis on the conscience collective which proposes punishment is a process allowing for the demonstration of group norms and the strengthening of moral boundaries. David Garland, in summarising this thesis, states: So although the modern state has a near monopoly of penal violence and controls the administration of penalties, a much wider population feels itself to be involved in the process of punishment, and supplies the context of social support and valorization within which state punishment takes place (32). It is claimed here that this “much wider population” connecting with the task of punishment can be taken further. Crime fiction, above all other forms of literary production, which, for those who do not directly contribute to the maintenance of their respective legal systems, facilitates a feeling of active participation in the penalising of a variety of perpetrators: from the issuing of fines to incarceration (Franks Punishment). Crime fiction readers are therefore, temporarily at least, direct contributors to a more stable society: one that is clearly based upon right and wrong and reliant upon the conscience collective to maintain and reaffirm order. In this context, the reader is no longer alone, with only their crime fiction novel for company, but has become an active member of “a moral framework which binds individuals to each other and to its conventions and institutions” (Garland 51). This allows crime fiction, once viewed as a “vice” (Wilson 395) or an “addiction” (Auden 406), to be seen as playing a crucial role in the preservation of social mores. It has been argued “only the most literal of literary minds would dispute the claim that fictional characters help shape the way we think of ourselves, and hence help us articulate more clearly what it means to be human” (Galgut 190). Crime fiction focuses on what it means to be human, and how complex humans are, because stories of murders, and the men and women who perpetrate and solve them, comment on what drives some people to take a life and others to avenge that life which is lost and, by extension, engages with a broad community of readers around ideas of justice and punishment. It is, furthermore, argued here that the idea of the story is one of the more important doorways for crime fiction and, more specifically, the conclusions that these stories, traditionally, offer. For Auden, the ending should be one of restoration of the spirit, as he suspected that “the typical reader of detective stories is, like myself, a person who suffers from a sense of sin” (411). In this way, the “phantasy, then, which the detective story addict indulges is the phantasy of being restored to the Garden of Eden, to a state of innocence, where he may know love as love and not as the law” (412), indicating that it was not necessarily an accident that “the detective story has flourished most in predominantly Protestant countries” (408). Today, modern crime fiction is a “broad church, where talented authors raise questions and cast light on a variety of societal and other issues through the prism of an exciting, page-turning story” (Sisterson). Moreover, our tastes in crime fiction have been tempered by a growing fear of real crime, particularly murder, “a crime of unique horror” (Hitchens 200). This has seen some readers develop a taste for crime fiction that is not produced within a framework of ecclesiastical faith but is rather grounded in reliance upon those who enact punishment in both the fictional and real worlds. As P.D. James has written: [N]ot by luck or divine intervention, but by human ingenuity, human intelligence and human courage. It confirms our hope that, despite some evidence to the contrary, we live in a beneficent and moral universe in which problems can be solved by rational means and peace and order restored from communal or personal disruption and chaos (174). Dorothy L. Sayers, despite her work to legitimise crime fiction, wrote that there: “certainly does seem a possibility that the detective story will some time come to an end, simply because the public will have learnt all the tricks” (108). Of course, many readers have “learnt all the tricks”, or most of them. This does not, however, detract from the genre’s overall appeal. We have not grown bored with, or become tired of, the formula that revolves around good and evil, and justice and punishment. Quite the opposite. Our knowledge of, as well as our faith in, the genre’s “tricks” gives a level of confidence to readers who are looking for endings that punish murderers and other wrongdoers, allowing for more satisfactory conclusions than the, rather depressing, ends given to Mr. Henry and Mr. Smith by Ernest Hemingway and George Orwell noted above. Conclusion For some, the popularity of crime fiction is a curious case indeed. When Penguin and Collins published the Marsh Million—100,000 copies each of 10 Ngaio Marsh titles in 1949—the author’s relief at the success of the project was palpable when she commented that “it was pleasant to find detective fiction being discussed as a tolerable form of reading by people whose opinion one valued” (172). More recently, upon the announcement that a Miles Franklin Award would be given to Peter Temple for his crime novel Truth, John Sutherland, a former chairman of the judges for one of the world’s most famous literary awards, suggested that submitting a crime novel for the Booker Prize would be: “like putting a donkey into the Grand National”. Much like art, fashion, food, and home furnishings or any one of the innumerable fields of activity and endeavour that are subject to opinion, there will always be those within the world of fiction who claim positions as arbiters of taste. Yet reading is intensely personal. I like a strong, well-plotted story, appreciate a carefully researched setting, and can admire elegant language, but if a character is too difficult to embrace—if I find I cannot make an emotional connection, if I find myself ambivalent about their fate—then a book is discarded as not being to my taste. It is also important to recognise that some tastes are transient. Crime fiction stories that are popular today could be forgotten tomorrow. Some stories appeal to such a broad range of tastes they are immediately included in the crime fiction canon. Yet others evolve over time to accommodate widespread changes in taste (an excellent example of this can be seen in the continual re-imagining of the stories of Sherlock Holmes). Personal tastes also adapt to our experiences and our surroundings. A book that someone adores in their 20s might be dismissed in their 40s. A storyline that was meaningful when read abroad may lose some of its magic when read at home. Personal events, from a change in employment to the loss of a loved one, can also impact upon what we want to read. Similarly, world events, such as economic crises and military conflicts, can also influence our reading preferences. Auden professed an almost insatiable appetite for crime fiction, describing the reading of detective stories as an addiction, and listed a very specific set of criteria to define the Whodunit. Today, such self-imposed restrictions are rare as, while there are many rules for writing crime fiction, there are no rules for reading this (or any other) genre. People are, generally, free to choose what, where, when, why, and how they read crime fiction, and to follow the deliberate or whimsical paths that their tastes may lay down for them. Crime fiction writers, past and present, offer: an incredible array of detective stories from the locked room to the clue puzzle; settings that range from the English country estate to city skyscrapers in glamorous locations around the world; numerous characters from cerebral sleuths who can solve a crime in their living room over a nice, hot cup of tea to weapon wielding heroes who track down villains on foot in darkened alleyways; and, language that ranges from the cultured conversations from the novels of the genre’s Golden Age to the hard-hitting terminology of forensic and legal procedurals. Overlaid on these appeal factors is the capacity of crime fiction to feed a taste for justice: to engage, vicariously at least, in the establishment of a more stable society. Of course, there are those who turn to the genre for a temporary distraction, an occasional guilty pleasure. There are those who stumble across the genre by accident or deliberately seek it out. There are also those, like Auden, who are addicted to crime fiction. So there are corpses for the conservative and dead bodies for the bloodthirsty. There is, indeed, a murder victim, and a murder story, to suit every reader’s taste. References Auden, W.H. “The Guilty Vicarage: Notes on The Detective Story, By an Addict.” Harper’s Magazine May (1948): 406–12. 1 Dec. 2013 ‹http://www.harpers.org/archive/1948/05/0033206›. Carter Snead, O. “Memory and Punishment.” Vanderbilt Law Review 64.4 (2011): 1195–264. Cawelti, John G. Adventure, Mystery and Romance: Formula Stories as Art and Popular Culture. Chicago: U of Chicago P, 1976/1977. Chandler, Raymond. The Big Sleep. London: Penguin, 1939/1970. ––. The Simple Art of Murder. New York: Vintage Books, 1950/1988. Christie, Agatha. The Mysterious Affair at Styles. London: HarperCollins, 1920/2007. Cole, Cathy. Private Dicks and Feisty Chicks: An Interrogation of Crime Fiction. Fremantle: Curtin UP, 2004. Derrida, Jacques. “The Law of Genre.” Glyph 7 (1980): 202–32. Franks, Rachel. “May I Suggest Murder?: An Overview of Crime Fiction for Readers’ Advisory Services Staff.” Australian Library Journal 60.2 (2011): 133–43. ––. “Motive for Murder: Reading Crime Fiction.” The Australian Library and Information Association Biennial Conference. Sydney: Jul. 2012. ––. “Punishment by the Book: Delivering and Evading Punishment in Crime Fiction.” Inter-Disciplinary.Net 3rd Global Conference on Punishment. Oxford: Sep. 2013. Freeman, R.A. “The Art of the Detective Story.” The Art of the Mystery Story: A Collection of Critical Essays. Ed. Howard Haycraft. New York: Simon & Schuster, 1924/1947. 7–17. Galgut, E. “Poetic Faith and Prosaic Concerns: A Defense of Suspension of Disbelief.” South African Journal of Philosophy 21.3 (2002): 190–99. Garland, David. Punishment and Modern Society: A Study in Social Theory. Chicago: U of Chicago P, 1993. Hemingway, Ernest. A Farewell to Arms. London: Random House, 1929/2004. ––. in R. Chandler. The Simple Art of Murder. New York: Vintage Books, 1950/1988. Hitchens, P. A Brief History of Crime: The Decline of Order, Justice and Liberty in England. London: Atlantic Books, 2003. James, P.D. Talking About Detective Fiction. New York: Alfred A. Knopf, 2009. Knight, Stephen. Crime Fiction since 1800: Death, Detection, Diversity, 2nd ed. New York: Palgrave Macmillian, 2010. Knox, Ronald A. “Club Rules: The 10 Commandments for Detective Novelists, 1928.” Ronald Knox Society of North America. 1 Dec. 2013 ‹http://www.ronaldknoxsociety.com/detective.html›. Malmgren, C.D. “Anatomy of Murder: Mystery, Detective and Crime Fiction.” Journal of Popular Culture Spring (1997): 115–21. Maloney, Shane. The Murray Whelan Trilogy: Stiff, The Brush-Off and Nice Try. Melbourne: Text Publishing, 1994/2008. Marsh, Ngaio in J. Drayton. Ngaio Marsh: Her Life in Crime. Auckland: Harper Collins, 2008. Orwell, George. Nineteen Eighty-Four. London: Penguin Books, 1949/1989. Roland, Susan. From Agatha Christie to Ruth Rendell: British Women Writers in Detective and Crime Fiction. London: Palgrave, 2001. Rzepka, Charles J. Detective Fiction. Cambridge: Polity, 2005. Sayers, Dorothy L. “The Omnibus of Crime.” The Art of the Mystery Story: A Collection of Critical Essays. Ed. Howard Haycraft. New York: Simon & Schuster, 1928/1947. 71–109. Scaggs, John. Crime Fiction: The New Critical Idiom. London: Routledge, 2005. Sisterson, C. “Battle for the Marsh: Awards 2013.” Black Mask: Pulps, Noir and News of Same. 1 Jan. 2014 http://www.blackmask.com/category/awards-2013/ Sutherland, John. in A. Flood. “Could Miles Franklin turn the Booker Prize to Crime?” The Guardian. 1 Jan. 2014 ‹http://www.guardian.co.uk/books/2010/jun/25/miles-franklin-booker-prize-crime›. Van Dine, S.S. “Twenty Rules for Writing Detective Stories.” The Art of the Mystery Story: A Collection of Critical Essays. Ed. Howard Haycraft. New York: Simon & Schuster, 1928/1947. 189-93. Wilson, Edmund. “Who Cares Who Killed Roger Ackroyd.” The Art of the Mystery Story: A Collection of Critical Essays. Ed. Howard Haycraft. New York: Simon & Schuster, 1944/1947. 390–97. Wyatt, N. “Redefining RA: A RA Big Think.” Library Journal Online. 1 Jan. 2014 ‹http://lj.libraryjournal.com/2007/07/ljarchives/lj-series-redefining-ra-an-ra-big-think›. Zunshine, Lisa. Why We Read Fiction: Theory of Mind and the Novel. Columbus: Ohio State UP, 2006.

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Abstract:

The Harry Potter (HP) Fan Fiction (FF) phenomenon offers an opportunity to explore the nature of fame and the work of fans (including the second author, a participant observer) in creating and circulating cultural products within fan communities. Matt Hills comments (xi) that “fandom is not simply a ‘thing’ that can be picked over analytically. It is also always performative; by which I mean that it is an identity which is (dis-)claimed, and which performs cultural work”. This paper explores the cultural work of fandom in relation to FF and fame. The global HP phenomenon – in which FF lists are a small part – has made creator J K Rowling richer than the Queen of England, according to the 2003 ‘Sunday Times Rich List’. The books (five so far) and the films (three) continue to accelerate the growth in Rowling’s fortune, which quadrupled from 2001-3: an incredible success for an author unknown before the publication of Harry Potter and the Philosopher’s Stone in 1997. Even the on-screen HP lead actor, Daniel Radcliffe, is now Britain’s second wealthiest teenager (after England’s Prince Harry). There are other globally successful books, such as the Lord of the Rings trilogy, and the Narnia collection, but neither of these series has experienced the momentum of the HP rise to fame. (See Endnote for an indication of the scale of fan involvement with HP FF, compared with Lord of the Rings.) Contemporary ‘Fame’ has been critically defined in relation to the western mass media’s requirement for ‘entertaining’ content, and the production and circulation of celebrity as opposed to ‘hard news’(Turner, Bonner and Marshall). The current perception is that an army of publicists and spin doctors are usually necessary, but not sufficient, to create and nurture global fame. Yet the HP phenomenon started out with no greater publicity investment than that garnered by any other promising first novelist: and given the status of HP as children’s publishing, it was probably less hyped than equivalent adult-audience publications. So are there particular characteristics of HP and his creator that predisposed the series and its author to become famous? And how does the fame status relate to fans’ incorporation of these cultural materials into their lives? Accepting that it is no more possible to predict the future fame of an author or (fictional) character than it is to predict the future financial success of a book, film or album, there is a range of features of the HP phenomenon that, in hindsight, helped accelerate the fame momentum, creating what has become in hindsight an unparalleled global media property. J K Rowling’s personal story – in the hands of her publicity machine – itself constituted a magical myth: the struggling single mother writing away (in longhand) in a Scottish café, snatching odd moments to construct the first book while her infant daughter slept. (Comparatively little attention was paid by the marketers to the author’s professional training and status as a teacher, or to Rowling’s own admission that the first book, and the outline for the series, took five years to write.) Rowling’s name itself, with no self-evident gender attribution, was also indicative of ambiguity and mystery. The back-story to HP, therefore, became one of a quintessentially romantic endeavour – the struggle to write against the odds. Publicity relating to the ‘starving in a garret’ background is not sufficient to explain the HP/Rowling grip on the popular imagination, however. Instead it is arguable that the growth of HP fame and fandom is directly related to the growth of the Internet and to the middle class readers’ Internet access. If the production of celebrity is a major project of the conventional mass media, the HP phenomenon is a harbinger of the hyper-fame that can be generated through the combined efforts of the mass media and online fan communities. The implication of this – evident in new online viral marketing techniques (Kirby), is that publicists need to pique cyber-interest as well as work with the mass media in the construction of celebrity. As the cheer-leaders for online viral marketing make the argument, the technique “provides the missing link between the [bottom-up] word-of-mouth approach and the top-down, advertainment approach”. Which is not to say that the initial HP success was a function of online viral marketing: rather, the marketers learned their trade by analysing the magnifier impact that the online fan communities had upon the exponential growth of the HP phenomenon. This cyber-impact is based both on enhanced connectivity – the bottom-up, word-of-mouth dynamic, and on the individual’s need to assume an identity (albeit fluid) to participate effectively in online community. Critiquing the notion that the computer is an identity machine, Streeter focuses upon (649) “identities that people have brought to computers from the culture at large”. He does not deal in any depth with FF, but suggests (651) that “what the Internet is and will come to be, then, is partly a matter of who we expect to be when we sit down to use it”. What happens when fans sit down to use the Internet, and is there a particular reason why the Internet should be of importance to the rise and rise of HP fame? From the point of view of one of us, HP was born at more or less the same time as she was. Eleven years old in the first book, published in 1997, Potter’s putative birth year might be set in 1986 – in line with many of the original HP readership, and the publisher’s target market. At the point that this cohort was first spellbound by Potter, 1998-9, they were also on the brink of discovering the Internet. In Australia and many western nations, over half of (two-parent) families with school-aged children were online by the end of 2000 (ABS). Potter would notionally have been 14: his fans a little younger but well primed for the ‘teeny-bopper’ years. Arguably, the only thing more famous than HP for that age-group, at that time, was the Internet itself. As knowledge of the Internet grew stories about it constituted both news and entertainment and circulated widely in the mass media: the uncertainty concerning new media, and their impact upon existing social structures, has – over time – precipitated a succession of moral panics … Established commercial media are not noted for their generosity to competitors, and it is unsurprising that many of the moral panics circulating about p*rnography on the Net, Internet stalking, Web addiction, hate sites etc are promulgated in the older media. (Green xxvii) Although the mass media may have successfully scared the impressionable, the Internet was not solely constructed as a site of moral panic. Prior to the general pervasiveness of the Internet in domestic space, P. David Marshall discusses multiple constructions of the computer – seen by parents as an educational tool which could help future-proof their children; but which their children were more like to conceptualise as a games machine, or (this was the greater fear) use for hacking. As the computer was to become a site for the battle ground between education, entertainment and power, so too the Internet was poised to be colonised by teenagers for a variety of purposes their parents would have preferred to prevent: chat, p*rnography, game-playing (among others). Fan communities thrive on the power of the individual fan to project themselves and their fan identity as part of an ongoing conversation. Further, in constructing the reasons behind what has happened in the HP narrative, and in speculating what is to come, fans are presenting themselves as identities with whom others might agree (positive affirmation) or disagree (offering the chance for engagement through exchange). The genuinely insightful fans, who apparently predict the plots before they’re published, may even be credited in their communities with inspiring J K Rowling’s muse. (The FF mythology is that J K Rowling dare not look at the FF sites in case she finds herself influenced.) Nancy Baym, commenting on a soap opera fan Usenet group (Usenet was an early 1990s precursor to discussion groups) notes that: The viewers’ relationship with characters, the viewers’ understanding of socioemotional experience, and soap opera’s narrative structure, in which moments of maximal suspense are always followed by temporal gaps, work together to ensure that fans will use the gaps during and between shows to discuss with one another possible outcomes and possible interpretations of what has been seen. (143) In HP terms the The Philosopher’s Stone constructed a fan knowledge that J K Rowling’s project entailed at least seven books (one for each year at Hogwarts School) and this offered plentiful opportunities to speculate upon the future direction and evolution of the HP characters. With each speculation, each posting, the individual fan can refine and extend their identity as a member of the FF community. The temporal gaps between the books and the films – coupled with the expanding possibilities of Internet communication – mean that fans can feel both creative and connected while circulating the cultural materials derived from their engagement with the HP ‘canon’. Canon is used to describe the HP oeuvre as approved by Rowling, her publishers, and her copyright assignees (for example, Warner Bros). In contrast, ‘fanon’ is the name used by fans to refer the body of work that results from their creative/subversive interactions with the core texts, such as “slash” (hom*o-erotic/romance) fiction. Differentiation between the two terms acknowledges the likelihood that J K Rowling or her assignees might not approve of fanon. The constructed identities of fans who deal solely with canon differ significantly from those who are engaged in fanon. The implicit (romantic) or explicit (full-action descriptions) sexualisation of HP FF is part of a complex identity play on behalf of both the writers and readers of FF. Further, given that the online communities are often nurtured and enriched by offline face to face exchanges with other participants, what an individual is prepared to read or not to read, or write or not write, says as much about that person’s public persona as does another’s overt consumption of p*rnography; or diet of art house films, in contrast to someone else’s enthusiasm for Friends. Hearn, Mandeville and Anthony argue that a “central assertion of postmodern views of consumption is that social identity can be interpreted as a function of consumption” (106), and few would disagree with them: herein lies the power of the brand. Noting that consumer culture centrally focuses upon harnessing ‘the desire to desire’, Streeter’s work (654, on the opening up of Internet connectivity) suggests a continuum from ‘desire provoked’; through anticipation, ‘excitement based on what people imagined would happen’; to a sense of ‘possibility’. All this was made more tantalising in terms of the ‘unpredictability’ of how cyberspace would eventually resolve itself (657). Thus a progression is posited from desire through to the thrill of comparing future possibilities with eventual outcomes. These forces clearly influence the HP FF phenomenon, where a section of HP fans have become impatient with the pace of the ‘official’/canon HP text. J K Rowling’s writing has slowed down to the point that Harry’s initial readership has overtaken him by several years. He’s about to enter his sixth year (of seven) at secondary school – his erstwhile-contemporaries have already left school or are about to graduate to University. HP is yet to have ‘a relationship’: his fans are engaged in some well-informed speculation as to a range of sexual possibilities which would likely take J K Rowling some light years from her marketers’ core readership. So the story is progressing more slowly than many fans would choose and with less spice than many would like (from the evidence of the web, at least). As indicated in the Endnote, the productivity of the fans, as they ‘fill in the gaps’ while waiting for the official narrative to resume, is prodigious. It may be that as the fans outstrip HP in their own social and emotional development they find his reactions in later books increasingly unbelievable, and/or out of character with the HP they felt they knew. Thus they develop an alternative ‘Harry’ in fanon. Some FF authors identify in advance which books they accept as canon, and which they have decided to ignore. For example, popular FF author Midnight Blue gives the setting of her evolving FF The Mirror of Maybe as “after Harry Potter and the Goblet of Fire and as an alternative to the events detailed in Harry Potter and the Order of the Phoenix, [this] is a Slash story involving Harry Potter and Severus Snape”. Some fans, tired of waiting for Rowling to get Harry grown up, ‘are doin’ it for themselves’. Alternatively, it may be that as they get older the first groups of HP fans are unwilling to relinquish their investment in the HP phenomenon, but are equally unwilling to align themselves uncritically with the anodyne story of the canon. Harry Potter, as Warner Bros licensed him, may be OK for pre-teens, but less cool for the older adolescent. The range of identities that can be constructed using the many online HP FF genres, however, permits wide scope for FF members to identify with dissident constructions of the HP narrative and helps to add to the momentum with which his fame increases. Latterly there is evidence that custodians of canon may be making subtle overtures to creators of fanon. Here, the viral marketers have a particular challenge – to embrace the huge market represented by fanon, while not disturbing those whose HP fandom is based upon the purity of canon. Some elements of fanon feel their discourses have been recognised within the evolving approved narrative . This sense within the fan community – that the holders of the canon have complimented them through an intertextual reference – is much prized and builds the momentum of the fame engagement (as has been demonstrated by Watson, with respect to the band ‘phish’). Specifically, Harry/Draco slash fans have delighted in the hint of a blown kiss from Draco Malfoy to Harry (as Draco sends Harry an origami bird/graffiti message in a Defence against the Dark Arts Class in Harry Potter and the Prisoner of Azkaban) as an acknowledgement of their cultural contribution to the development of the HP phenomenon. Streeter credits Raymond’s essay ‘The Cathedral and the Bazaar’ as offering a model for the incorporation of voluntary labour into the marketplace. Although Streeter’s example concerns the Open Source movement, derived from hacker culture, it has parallels with the prodigious creativity (and productivity) of the HP FF communities. Discussing the decision by Netscape to throw open the source code of its software in 1998, allowing those who use it to modify and improve it, Streeter comments that (659) “the core trope is to portray Linux-style software development like a bazaar, a real-life competitive marketplace”. The bazaar features a world of competing, yet complementary, small traders each displaying their skills and their wares for evaluation in terms of the product on offer. In contrast, “Microsoft-style software production is portrayed as hierarchical and centralised – and thus inefficient – like a cathedral”. Raymond identifies “ego satisfaction and reputation among other [peers]” as a specific socio-emotional benefit for volunteer participants (in Open Source development), going on to note: “Voluntary cultures that work this way are not actually uncommon [… for example] science fiction fandom, which unlike hackerdom has long explicitly recognized ‘egoboo’ (ego-boosting, or the enhancement of one’s reputation among other fans) as the basic drive behind volunteer activity”. This may also be a prime mover for FF engagement. Where fans have outgrown the anodyne canon they get added value through using the raw materials of the HP stories to construct fanon: establishing and building individual identities and communities through HP consumption practices in parallel with, but different from, those deemed acceptable for younger, more innocent, fans. The fame implicit in HP fandom is not only that of HP, the HP lead actor Daniel Radcliffe and HP’s creator J K Rowling; for some fans the famed ‘state or quality of being widely honoured and acclaimed’ can be realised through their participation in online fan culture – fans become famous and recognised within their own community for the quality of their work and the generosity of their sharing with others. The cultural capital circulated on the FF sites is both canon and fanon, a matter of some anxiety for the corporations that typically buy into and foster these mega-media products. As Jim Ward, Vice-President of Marketing for Lucasfilm comments about Star Wars fans (cited in Murray 11): “We love our fans. We want them to have fun. But if in fact someone is using our characters to create a story unto itself, that’s not in the spirit of what we think fandom is about. Fandom is about celebrating the story the way it is.” Slash fans would beg to differ, and for many FF readers and writers, the joy of engagement, and a significant engine for the growth of HP fame, is partly located in the creativity offered for readers and writers to fill in the gaps. Endnote HP FF ranges from posts on general FF sites (such as fanfiction.net >> books, where HP has 147,067 stories [on 4,490 pages of hotlinks] posted, compared with its nearest ‘rival’ Lord of the rings: with 33,189 FF stories). General FF sites exclude adult content, much of which is corralled into 18+ FF sites, such as Restrictedsection.org, set up when core material was expelled from general sites. As an example of one adult site, the Potter Slash Archive is selective (unlike fanfiction.net, for example) which means that only stories liked by the site team are displayed. Authors submitting work are asked to abide by a list of ‘compulsory parameters’, but ‘warnings’ fall under the category of ‘optional parameters’: “Please put a warning if your story contains content that may be offensive to some authors [sic], such as m/m sex, graphic sex or violence, violent sex, character death, major angst, BDSM, non-con (rape) etc”. Adult-content FF readers/writers embrace a range of unexpected genres – such as Twincest (incest within either of the two sets of twin characters in HP) and Weasleycest (incest within the Weasley clan) – in addition to mainstream romance/hom*o-erotica pairings, such as that between Harry Potter and Draco Malfoy. (NB: within the time frame 16 August – 4 October, Harry Potter FF writers had posted an additional 9,196 stories on the fanfiction.net site alone.) References ABS. 8147.0 Use of the Internet by Householders, Australia. http://www.abs.gov.au/ausstats/abs@.nsf/ e8ae5488b598839cca25682000131612/ ae8e67619446db22ca2568a9001393f8!OpenDocument, 2001, 2001>. Baym, Nancy. “The Emergence of Community in Computer-Mediated Communication.” CyberSociety: Computer-Mediated Communication and Community. Ed. S. Jones. Thousand Oaks, CA: Sage, 1995. 138-63. Blue, Midnight. “The Mirror of Maybe.” http://www.greyblue.net/MidnightBlue/Mirror/default.htm>. Coates, Laura. “Muggle Kids Battle for Domain Name Rights. Irish Computer. http://www.irishcomputer.com/domaingame2.html>. Fanfiction.net. “Category: Books” http://www.fanfiction.net/cat/202/>. Green, Lelia. Technoculture: From Alphabet to Cybersex. Sydney: Allen & Unwin. Hearn, Greg, Tom Mandeville and David Anthony. The Communication Superhighway: Social and Economic Change in the Digital Age. Sydney: Allen & Unwin, 1997. Hills, Matt. Fan Cultures. London: Routledge, 2002. Houghton Mifflin. “Potlatch.” Encyclopedia of North American Indians. http://college.hmco.com/history/readerscomp/naind/html/ na_030900_potlatch.htm>. Kirby, Justin. “Brand Papers: Getting the Bug.” Brand Strategy July-August 2004. http://www.dmc.co.uk/pdf/BrandStrategy07-0804.pdf>. Marshall, P. David. “Technophobia: Video Games, Computer Hacks and Cybernetics.” Media International Australia 85 (Nov. 1997): 70-8. Murray, Simone. “Celebrating the Story the Way It Is: Cultural Studies, Corporate Media and the Contested Utility of Fandom.” Continuum 18.1 (2004): 7-25. Raymond, Eric S. The Cathedral and the Bazaar. 2000. http://www.catb.org/~esr/writings/cathedral-bazaar/cathedral-bazaar/ar01s11.html>. Streeter, Thomas. The Romantic Self and the Politics of Internet Commercialization. Cultural Studies 17.5 (2003): 648-68. Turner, Graeme, Frances Bonner, and P. David Marshall. Fame Games: The Production of Celebrity in Australia. Melbourne: Cambridge UP. Watson, Nessim. “Why We Argue about Virtual Community: A Case Study of the Phish.net Fan Community.” Virtual Culture: Identity and Communication in Cybersociety. Ed. Steven G. Jones. London: Sage, 1997. 102-32. Citation reference for this article MLA Style Green, Lelia, and Carmen Guinery. "Harry Potter and the Fan Fiction Phenomenon." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/14-green.php>. APA Style Green, L., and C. Guinery. (Nov. 2004) "Harry Potter and the Fan Fiction Phenomenon," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/14-green.php>.

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Narratives of invasion have been stock in trade for science fiction in film and on TV for many years now. It's not hard to see how this began; at least at the conceptual level, visual SF tends not to be greatly innovative, drawing much of its iconography and subject matter from written SF produced in the 30s and 40s -- and in that time period, invasion and imperialism was something of a hot topic. But invasion narratives in visual SF are still extremely popular and prevalent even today (witness the X-Files' overarching storyline), which suggests the reasons may be not so much a matter of any lack of innovation and more an issue of some wider cultural value. To address some of the implications of this I want to turn to the British TV series, Doctor Who, which, in its twenty-five year run, explored practically every possible variation of the invasion narrative. One of the aspects of the show that both its native viewers and its "colonial" (I use the term here very loosely, and to describe fans and viewers in Australia, the US and NZ) fans seem to find especially valuable and interesting is what they invariably term its "Britishness". This Britishness manifests itself particularly in the persona of the lead character, the Doctor, an alien time-traveller who nevertheless is typically garbed in Edwardian jackets and is fond of cricket, tea, and jellybabies (though not all at the same time). Time and time again, the Doctor must save the Earth (and occasionally other planets, and sometimes the Universe) from hordes of monstrous foes. Well, when I say "Earth", I mostly mean England. In the greater London area. This is clearly demonstrated in an early story from 1964, featuring the Doctor's oldest foes, the Daleks, who have come to Earth in the 21st century to enslave humanity and mine the planet's core. The Daleks are depicted gliding unstoppably through an eerily deserted London, exterminating any stray humans they encounter. Nothing is shown of any other city or country on the planet -- we are therefore encouraged to view London as the paradigmatic representation of Earth. The image recurs through the course of the series: on every planet the Doctor visits, the inhabitants speak impeccable BBC English. The harsh budgetary restrictions and unforgiving production schedule undeniably shaped this seemingly complete insularity. And indeed the pluralistic humanism that informed the show's best episodes mitigated its insular tendencies a good deal. I think it is possible to see it as symptomatic of a wider cultural force -- the burden of Empire. It is almost inescapable that Britain's status as a fading colonial power becomes inscribed in its popular fiction texts -- and particularly SF offered avenues for the recuperation of this status through technology, for instance. Both Doctor Who and its near-contemporary, Quartermass, offered visions of Britain leading the space race with manned flights to Mars and the outer solar system. The Doctor's main foes, such as the Daleks, the Cybermen and the Sontarans, for instance, were frequently depicted in the course of the series as taking humans as slaves for labour work and experimentation. In one particular case, the slaves were all portrayed by white South African actors! Certainly a very tangled set of ideological interrelations operating out of this unease at the cost of colonialism. Ultimately, however, the vision of the Doctor, a capable British eccentric saving oppressed peoples from tyrannical governments and marauding invaders, must surely be another gesture towards the kind of cultural and moral recuperation that I've alluded to. Citation reference for this article MLA style: Nick Caldwell. "A Decolonising Doctor? British SF Invasion Narratives." M/C: A Journal of Media and Culture 2.2 (1999). [your date of access] <http://www.uq.edu.au/mc/9903/who.php>. Chicago style: Nick Caldwell, "A Decolonising Doctor? British SF Invasion Narratives," M/C: A Journal of Media and Culture 2, no. 2 (1999), <http://www.uq.edu.au/mc/9903/who.php> ([your date of access]). APA style: Nick Caldwell. (1999) A decolonising doctor? British SF invasion narratives. M/C: A Journal of Media and Culture 2(2). <http://www.uq.edu.au/mc/9903/who.php> ([your date of access]).

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IntroductionAccounts of criminals, their victims, and their pursuers have become entrenched within the sphere of popular culture; most obviously in the genres of true crime and crime fiction. The centrality of the pursuer in the form of the detective, within these stories, dates back to the nineteenth century. This, often highly-stylised and regularly humanised protagonist, is now a firm feature of both factual and fictional accounts of crime narratives that, today, regularly focus on the energies of the detective in solving a variety of cases. So familiar is the figure of the detective, it seems that these men and women—amateurs and professionals—have always had an important role to play in the pursuit and punishment of the wrongdoer. Yet, the first detectives were forced to overcome significant resistance from a suspicious public. Some early efforts to reimagine punishment and to laud the detective include articles written by Charles Dickens; pieces on public hangings and policing that reflect the great Victorian novelist’s commitment to shed light on, through written commentaries, a range of important social issues. This article explores some of Dickens’s lesser-known pieces, that—appearing in daily newspapers and in one of his own publications Household Words—helped to change some common perceptions of punishment and policing. Image 1: Harper's Magazine 7 December 1867 (Charles Dickens Reading, by Charles A. Barry). Image credit: United States Library of Congress Prints and Photographs Division. A Reliance on the Scaffold: Early Law Enforcement in EnglandCrime control in 1720s England was dependent upon an inconsistent, and by extension ineffective, network of constables and night watchmen. It would be almost another three decades before Henry Fielding established the Bow Street Foot Patrol, or Bow Street Runners, in 1749, “six men in blue coats, patrolling the area within six miles of Charing Cross” (Worsley 35). A large-scale, formalised police force was attempted by Pitt the Younger in 1785 with his “Bill for the Further prevention of Crime and for the more Speedy Detection and Punishment of Offenders against the Peace” (Lyman 144). The proposed legislation was withdrawn due to fierce opposition that was underpinned by fears, held by officials, of a divestment of power to a new body of law enforcers (Lyman 144).The type of force offered in 1785 would not be realised until the next century, when the work of Robert Peel saw the passing of the Metropolitan Police Act 1829. The Police Act, which “constituted a revolution in traditional methods of law enforcement” (Lyman 141), was focused on the prevention of crime, “to reassure the lawful and discourage the wrongdoer” (Hitchens 51). Until these changes were implemented violent punishment, through the Waltham Black Act 1723, remained firmly in place (Cruickshanks and Erskine-Hill 359) as part of the state’s arsenal against crime (Pepper 473).The Black Act, legislation often referred to as the ‘Bloody Code’ as it took the number of capital felonies to over 350 (Pepper 473), served in lieu of consistency and cooperation, across the country, in relation to the safekeeping of the citizenry. This situation inevitably led to anxieties about crime and crime control. In 1797 Patrick Colquhoun, a magistrate, published A Treatise on the Police of the Metropolis in which he estimated that, out of a city population of just under 1 million, 115,000 men and women supported themselves “in and near the Metropolis by pursuits either criminal-illegal-or immoral” (Lyman 144). Andrew Pepper highlights tensions between “crime, governance and economics” as well as “rampant petty criminality [… and] widespread political corruption” (474). He also notes a range of critical responses to crime and how, “a particular kind of writing about crime in the 1720s demonstrated, perhaps for the first time, an awareness of, or self-consciousness about, this tension between competing visions of the state and state power” (Pepper 474), a tension that remains visible today in modern works of true crime and crime fiction. In Dickens’s day, crime and its consequences were serious legal, moral, and social issues (as, indeed, they are today). An increase in the crime rate, an aggressive state, the lack of formal policing, the growth of the printing industry, and writers offering diverse opinions—from the sympathetic to the retributive—on crime changed crime writing. The public wanted to know about the criminal who had disturbed society and wanted to engage with opinions on how the criminal should be stopped and punished. The public also wanted to be updated on changes to the judicial system such as the passing of the Judgement of Death Act 1823 which drastically reduced the number of capital crimes (Worsley 122) and how the Gaols Act, also of 1823, “moved tentatively towards national prison reform” (Gattrell 579). Crimes continued to be committed and alongside the wrongdoers were readers that wanted to be diverted from everyday events by, but also had a genuine need to be informed about, crime. A demand for true crime tales demonstrating a broader social need for crimes, even the most minor infractions, to be publicly punished: first on the scaffold and then in print. Some cases were presented as sensationalised true crime tales; others would be fictionalised in short stories and novels. Standing Witness: Dickens at the ScaffoldIt is interesting to note that Dickens witnessed at least four executions in his lifetime (Simpson 126). The first was the hanging of a counterfeiter, more specifically a coiner, which in the 1800s was still a form of high treason. The last person executed for coining in England was in early 1829; as Dickens arrived in London at the end of 1822, aged just 10-years-old (Simpson 126-27) he would have been a boy when he joined the crowds around the scaffold. Many journalists and writers who have documented executions have been “criticised for using this spectacle as a source for generating sensational copy” (Simpson 127). Dickens also wrote about public hangings. His most significant commentaries on the issue being two sets of letters: one set published in The Daily News (1846) and a second set published in The Times (1849) (Brandwood 3). Yet, he was immune from the criticism directed at so many other writers, in large part, due to his reputation as a liberal, “social reformer moved by compassion, but also by an antipathy toward waste, bureaucratic incompetence, and above all toward exploitation and injustice” (Simpson 127). As Anthony Simpson points out, Dickens did not sympathise with the condemned: “He wrote as a realist and not a moralist and his lack of sympathy for the criminal was clear, explicit and stated often” (128). Simpson also notes that Dickens’s letters on execution written in 1846 were “strongly supportive of total abolition” while later letters, written in 1849, presented arguments against public executions rather than the practice of execution. In 1859 Dickens argued against pardoning a poisoner. While in 1864 he supported the execution of the railway carriage murderer Franz Müller, explaining he would be glad to abolish both public executions and capital punishment, “if I knew what to do with the Savages of civilisation. As I do not, I would rid Society of them, when they shed blood, in a very solemn manner” (in Simpson 138-39) that is, executions should proceed but should take place in private.Importantly, Dickens was consistently concerned about society’s fascination with the scaffold. In his second letter to The Daily News, Dickens asks: round what other punishment does the like interest gather? We read of the trials of persons who have rendered themselves liable to transportation for life, and we read of their sentences, and, in some few notorious instances, of their departure from this country, and arrival beyond the sea; but they are never followed into their cells, and tracked from day to day, and night to night; they are never reproduced in their false letters, flippant conversations, theological disquisitions with visitors, lay and clerical […]. They are tried, found guilty, punished; and there an end. (“To the Editors of The Daily News” 6)In this passage, Dickens describes an overt curiosity with those criminals destined for the most awful of punishments. A curiosity that was put on vile display when a mob gathered on the concourse to watch a hanging; a sight which Dickens readily admitted “made [his] blood run cold” (“Letter to the Editor” 4).Dickens’s novels are grand stories, many of which feature criminals and criminal sub-plots. There are, for example, numerous criminals, including the infamous fa*gin in Oliver Twist; or, The Parish Boy’s Progress (1838); several rioters are condemned to hang in Barnaby Rudge: A Tale of the Riots of Eighty (1841); there is murder in The Life and Adventures of Martin Chuzzlewit (1844); and murder, too, in Bleak House (1853). Yet, Dickens never wavered in his revulsion for the public display of the execution as revealed in his “refusal to portray the scene at the scaffold [which] was principled and heartfelt. He came, reluctantly to support capital punishment, but he would never use its application for dramatic effect” (Simpson 141).The Police Detective: A Public Relations ExerciseBy the mid-1700s the crime story was one of “sin to crime and then the gallows” (Rawlings online): “Crimes of every defcription (sic) have their origin in the vicious and immoral habits of the people” (Colquhoun 32). As Philip Rawlings notes, “once sin had been embarked upon, capture and punishment followed” (online). The origins of this can be found in the formula relied upon by Samuel Smith in the seventeenth century. Smith was the Ordinary of Newgate, or prison chaplain (1676–1698), who published Accounts of criminals and their gruesome ends. The outputs swelled the ranks of the already burgeoning market of broadsides, handbills and pamphlets. Accounts included: 1) the sermon delivered as the prisoner awaited execution; 2) a brief overview of the crimes for which the prisoner was being punished; and 3) a reporting of the events that surrounded the execution (Gladfelder 52–53), including the prisoner’s behaviour upon the scaffold and any last words spoken. For modern readers, the detective and the investigation is conspicuously absent. These popular Accounts (1676–1772)—over 400 editions offering over 2,500 criminal biographies—were only a few pence a copy. With print runs in the thousands, the Ordinary earnt up to £200 per year for his efforts (Emsley, Hitchco*ck, and Shoemaker online). For:penitence and profit made comfortable bedfellows, ensuring true crime writing became a firm feature of the business of publishing. That victims and villains suffered was regrettable but no horror was so terrible anyone forgot there was money to be made. (Franks, “Stealing Stories” 7)As the changes brought about by the Industrial Revolution were having their full impact, many were looking for answers, and certainty, in a period of radical social transformation. Sin as a central motif in crime stories was insufficient: the detective was becoming essential (Franks, “True Crime” 239). “In the nineteenth century, the role of the newly-fashioned detective as an agent of consolation or security is both commercially and ideologically central to the subsequent project of popular crime writing” (Bell 8). This was supported by an “increasing professionalism and proficiency of policemen, detectives, and prosecutors, new understandings about psychology, and advances in forensic science and detection techniques” (Murley 10). Elements now included in most crime narratives. Dickens insisted that the detective was a crucial component of the justice system—a figure to be celebrated, one to take centre stage in the crime story—reflecting his staunch support “of the London Metropolitan Police” (Simpson 140). Indeed, while Dickens is known principally for exposing wretched poverty, he was also interested in a range of legal issues as can be evinced from his writings for Household Words. Image 2: Household Words 27 July 1850 (Front Page). Image credit: Dickens Journals Online. W.H. Wills argued for the acceptance of the superiority of the detective when, in 1850, he outlined the “difference between a regular and a detective policeman” (368). The detective must, he wrote: “counteract every sort of rascal whose only means of existence it avowed rascality, but to clear up mysteries, the investigation of which demands the utmost delicacy and tact” (368). The detective is also extraordinarily efficient; cases are solved quickly, in one example a matter is settled in just “ten minutes” (369).Dickens’s pro-police pieces, included a blatantly promotional, two-part work “A Detective Police Party” (1850). The narrative begins with open criticism of the Bow Street Runners contrasting these “men of very indifferent character” to the Detective Force which is “so well chosen and trained, proceeds so systematically and quietly, does its business in such a workman-like manner, and is always so calmly and steadily engaged in the service of the public” (“Police Party, Part I” 409). The “party” is just that: a gathering of detectives and editorial staff. Men in a “magnificent chamber”, seated at “a round table […] with some glasses and cigars arranged upon it; and the editorial sofa elegantly hemmed in between that stately piece of furniture and the wall” (“Police Party, Part I” 409). Two inspectors and five sergeants are present. Each man prepared to share some of their experiences in the service of Londoners:they are, [Dickens tells us] one and all, respectable-looking men; of perfectly good deportment and unusual intelligence; with nothing lounging or slinking in their manners; with an air of keen observation, and quick perception when addressed; and generally presenting in their faces, traces more or less marked of habitually leading lives of strong mental excitement. (“Police Party, Part I” 410) Dickens goes to great lengths to reinforce the superiority of the police detective. These men, “in a glance, immediately takes an inventory of the furniture and an accurate sketch of the editorial presence” and speak “very concisely, and in well-chosen language” and who present as an “amicable brotherhood” (“Police Party, Part I” 410). They are also adaptable and constantly working to refine their craft, through apeculiar ability, always sharpening and being improved by practice, and always adapting itself to every variety of circ*mstances, and opposing itself to every new device that perverted ingenuity can invent, for which this important social branch of the public service is remarkable! (“Police Party, Part II” 459)These detectives are also, in some ways, familiar. Dickens’s offerings include: a “shrewd, hard-headed Scotchman – in appearance not at all unlike a very acute, thoroughly-trained schoolmaster”; a man “with a ruddy face and a high sun-burnt forehead, [who] has the air of one who has been a Sergeant in the army” (“Police Party, Part I” 409-10); and another man who slips easily into the role of the “greasy, sleepy, shy, good-natured, chuckle-headed, un-suspicious, and confiding young butcher” (“Police Party, Part II” 457). These descriptions are more than just attempts to flesh out a story; words on a page reminding us that the author is not just another journalist but one of the great voices of the Victorian era. These profiles are, it is argued here, a deliberate strategy to reassure readers.In summary, police detectives are only to be feared by those residing on the wrong side of the law. For those without criminal intent; detectives are, in some ways, like us. They are people we already know and trust. The stern but well-meaning, intelligent school teacher; the brave and loyal soldier defending the Empire; and the local merchant, a person we see every day. Dickens provides, too, concrete examples for how everyone can contribute to a safer society by assisting these detectives. This, is perfect public relations. Thus, almost singlehandedly, he builds a professional profile for a new type of police officer. The problem (crime) and its solution (the detective) neatly packaged, with step-by-step instructions for citizens to openly support this new-style of constabulary and so achieve a better, less crime-ridden community. This is a theme pursued in “Three Detective Anecdotes” (1850) where Dickens continued to successfully merge “solid lower-middle-class respectability with an intimate knowledge of the criminal world” (Priestman 177); so, proffering the ideal police detective. A threat to the criminal but not to the hard-working and honest men, women, and children of the city.The Detective: As Fact and as FictionThese writings are also a precursor to one of the greatest fictional detectives of the English-speaking world. Dickens observes that, for these new-style police detectives: “Nothing is so common or deceptive as such appearances at first” (“Police Party, Part I” 410). In 1891, Arthur Conan Doyle would write that: “There is nothing so deceptive as an obvious fact” (78). Dickens had prepared readers for the consulting detective Sherlock Holmes: who was smarter, more observant and who had more determination to take on criminals than the average person. The readers of Dickens were, in many respects, positioned as prototypes of Dr John Watson: a hardworking, loyal Englishman. Smart. But not as smart as those who would seek to do harm. Watson needed Holmes to make the world a better place; the subscriber to Household Words needed the police detective.Another article, “On Duty with Inspector Field” (1851), profiled the “well-known hand” responsible for bringing numerous offenders to justice and sending them, “inexorably, to New South Wales” (Dickens 266). Critically this true crime narrative would be converted into a crime fiction story as Inspector Field is transformed (it is widely believed) into the imagined Inspector Bucket. The 1860s have been identified as “a period of awakening for the detective novel” (Ashley x), a predictor of which is the significant sub-plot of murder in Dickens’s Bleak House. In this novel, a murder is committed with the case taken on, and competently solved by, Bucket who is a man of “skill and integrity” a man presented as an “ideal servant” though one working for a “flawed legal system” (Walton 458). Mr Snagsby, of Bleak House, observes Bucket as a man whoseems in some indefinable manner to lurk and lounge; also, that whenever he is going to turn to the right or left, he pretends to have a fixed purpose in his mind of going straight ahead, and wheels off, sharply at the very last moment [… He] notices things in general, with a face as unchanging as the great mourning ring on his little finger, or the brooch, composed of not much diamond and a good deal of setting, which he wears in his shirt. (278) This passage, it is argued here, places Bucket alongside the men at the detective police party in Household Words. He is simultaneously superhuman in mind and manner, though rather ordinary in dress. Like the real-life detectives of Dickens’s articles; he is a man committed to keeping the city safe while posing no threat to law-abiding citizens. ConclusionThis article has explored, briefly, the contributions of the highly-regarded Victorian author, Charles Dickens, to factual and fictional crime writing. The story of Dickens as a social commentator is one that is familiar to many; what is less well-known is the connection of Dickens to important conversations around capital punishment and the rise of the detective in crime-focused narratives; particularly how he assisted in building the professional profile of the police detective. In this way, through fact and fiction, Dickens performed great (if under-acknowledged) public services around punishment and law enforcement: he contributed to debates on the death penalty and he helped to build trust in the radical social project that established modern-day policing.AcknowledgementsThe author offers her sincere thanks to the New South Wales Dickens Society, Simon Dwyer, and Peter Kirkpatrick. The author is also grateful to the reviewers of this article for their thoughtful comments and valuable suggestions. ReferencesAshley, Mike. “Introduction: Seeking the Evidence.” The Notting Hill Mystery. Author. Charles Warren Adams. London: The British Library, 2012. xxi-iv. Bell, Ian A. “Eighteenth-Century Crime Writing.” The Cambridge Companion to Crime Fiction. Ed. Martin Priestman. Cambridge: Cambridge UP, 2003/2006. 7-17.Brandwood, Katherine. “The Dark and Dreadful Interest”: Charles Dickens, Public Death and the Amusem*nts of the People. MA Thesis. Washington, DC: Georgetown University, 2013. 19 Feb. 2017 <https://repository.library.georgetown.edu/bitstream/handle/10822/558266/Brandwood_georgetown_0076M_12287.pdf;sequence=1>.Collins, Philip. Dickens and Crime. London: Macmillan & Co, 1964.Cruickshanks, Eveline, and Howard Erskine-Hill. “The Waltham Black Act and Jacobitism.” Journal of British Studies 24.3 (1985): 358-65.Dickens, Charles. Oliver Twist; or, The Parish Boy’s Progress. London: Richard Bentley,1838.———. Barnaby Rudge: A Tale of the Riots of Eighty. London: Chapman & Hall, 1841. ———. The Life and Adventures of Martin Chuzzlewit. London: Chapman & Hall, 1844.———. “To the Editors of The Daily News.” The Daily News 28 Feb. 1846: 6. (Reprinted in Antony E. Simpson. Witnesses to the Scaffold. Lambertville: True Bill P, 2008. 141–149.)———. “Letter to the Editor.” The Times 14 Nov. 1849: 4. (Reprinted in Antony E. Simpson. Witnesses to the Scaffold. Lambertville: True Bill P, 2008. 149-51.)———. “A Detective Police Party, Part I.” Household Words 1.18 (1850): 409-14.———. “A Detective Police Party, Part II.” Household Words 1.20 (1850): 457-60.———. “Three Detective Anecdotes.” Household Words 1.25 (1850): 577-80.———. “On Duty with Inspector Field.” Household Words 3.64 (1851): 265-70.———. Bleak House. London: Bradbury and Evans, 1853/n.d.Doyle, Arthur Conan. “The Boscombe Valley Mystery.” The Adventures of Sherlock Holmes. London: Penguin, 1892/1981. 74–99.Emsley, Clive, Tim Hitchco*ck, and Robert Shoemaker. “The Proceedings: Ordinary of Newgate’s Accounts.” Old Bailey Proceedings Online, n.d. 4 Feb. 2017 <https://www.oldbaileyonline.org/static/Ordinarys-accounts.jsp>. Franks, Rachel. “True Crime: The Regular Reinvention of a Genre.” Journal of Asia-Pacific Pop Culture 1.2 (2016): 239-54. ———. “Stealing Stories: Punishment, Profit and the Ordinary of Newgate.” Refereed Proceedings of the 21st Conference of the Australasian Association of Writing Programs: Authorised Theft. Eds. Niloofar Fanaiyan, Rachel Franks, and Jessica Seymour. 2016. 1-11. 20 Mar. 2017 <http://www.aawp.org.au/publications/the-authorised-theft-papers/>.Gatrell, V.A.C. The Hanging Tree: Execution and the English People, 1770-1868. Oxford: Oxford UP, 1996.Gladfelder, Hal. Criminality and Narrative in Eighteenth-Century England. Baltimore: Johns Hopkins UP, 2001.Hitchens, Peter. A Brief History of Crime: The Decline of Order, Justice and Liberty in England. London: Atlantic Books, 2003.Lyman, J.L. “The Metropolitan Police Act of 1829.” Journal of Criminal Law, Criminology and Police Science 55.1 (1964): 141-54.Murley, Jean. The Rise of True Crime: 20th Century Murder and American Popular Culture. Westport: Praeger, 2008.Pepper, Andrew. “Early Crime Writing and the State: Jonathan Wilde, Daniel Defoe and Bernard Mandeville in 1720s London.” Textual Practice 25.3 (2011): 473-91. Priestman, Martin. “Post-War British Crime Fiction.” The Cambridge Companion to Crime Fiction. Ed. Martin Priestman. Cambridge: Cambridge UP, 2003. 173-89.Rawlings, Philip. “True Crime.” The British Criminology Conferences: Selected Proceedings, Volume 1: Emerging Themes in Criminology. Eds. Jon Vagg and Tim Newburn. London: British Society of Criminology (1998). 4 Feb. 2017 <http://www.britsoccrim.org/volume1/010.pdf>.Simpson, Antony E. Witnesses to the Scaffold: English Literary Figures as Observers of Public Executions. Lambertville: True Bill P, 2008.Walton, James. “Conrad, Dickens, and the Detective Novel.” Nineteenth-Century Fiction 23.4 (1969): 446-62.Wills, William Henry. “The Modern Science of Thief-Taking.” Household Words 1.16 (1850): 368-72.Worsley, Lucy. A Very British Murder: The Curious Story of How Crime Was Turned into Art. London: BBC Books, 2013/2014.

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Introduction Many people’s knowledge of history is gleaned through popular culture. As a result there is likely a blurring of history with myth. This is one of the criticisms of historical romance novels, which blur historical details with fictional representations. As a result of this the genre is often dismissed from serious academic scholarship. The other reason for its disregard may be that it is largely seen as women’s fiction. As ‘women’s fiction’ it is largely relegated to that of ‘low culture’ and considered to have little literary value. Yet the romance genre remains popular and lucrative. Research by the Romance Writers of America in 2016 found that the genre represents 23% of the US fiction market and generates in excess of US$1 billion per year (Romance Writers of America). Since the onset of COVID-19, sales of romance novels in the US have soared, increasing by 17% between January and May 2020. The most popular genre was the historical romance genre. In total during that period, 16.2 million romance e-books were purchased by consumers (NPD). Yet despite its popularity, romance fiction remains stuck in the pulp fiction bubble. This article draws upon an international survey conducted in June 2020 by the authors. The study aimed to understand how readers of historical romance novels (n=813) engage with historical representations in popular culture, and how they navigate issues of authenticity. Consuming History through Popular Culture: “Historical Romance Novels Bring History to Life” Popular culture presents a tangible way in which audiences can engage with history and historical practices. “The spaces scholars have no idea about – the gaps between verifiable fact – are the territory for the writer of fictional history” (de Groot 217). Historical romance writer Georgette Heyer, for example, was influenced by her father’s conviction that “the historical novel was a worthy medium for learning about the past” (Kloester 102), and readers of historical romance often echo this view. One participant in this study considered the genre a way to “learn about history, the mores and customs, the food and clothing of that particular era … and how it contrasts to modern times”. For another participant, “most historical romances are set in countries other than my own. I like learning about these other countries and cultures”. The historical romance genre, in some instances, was not the reason for reading the novel: it was the historical setting. The romance itself was often incidental: “I am more interested in the history than the romance, but if the romance is done well … [then] the tensions of the romance illustrate and highlight historical divisions”. While a focus on history rather than romance, it posits that authors are including historically accurate details, and this is recognised by readers of the genre. In fact, one contributor to the survey argued that as a member of a writers’ group they were aware of that the “majority of the writers of that genre were voracious researchers, so much so that writers of other genres (male western writers for one) were going to them for information”. While fiction provides entertainment and relaxation, reading historical romance provides an avenue for accessing history without engaging it in a scholarly environment. Participants offered examples of this, saying “I like learning about the past and novels are an easy and relaxing way to do it” and “I enjoy historical facts but don’t necessarily need to read huge historical texts about Elizabeth Woodville when I can read The White Queen.” Social and political aspects of an era were gleaned from historical romance novels that may be less evident in historical texts. For one respondent, “I enjoy the description of the attire … behaviours … the social strata, politics, behaviours toward women and women who were ahead of their time”. Yet at the same time, historical fiction provides a way for readers to learn about historical events and places that spurred them to access more factual historical sources: “when I read a novel that involves actual historic happenings, it drives me to learn if the author is representing them correctly and to learn more about the topics”. For another, the historical romance “makes me want to do some more research”. Hence, historical fiction can provide new ways of seeing the past: “I enjoy seeing the similarities between people of the past and present. Hist[orical] Fic[tion] brings us hope that we can learn and survive our present.” A consciousness of how ancestors “survived and thrived” was evident among many participants. For one, history is best learned through the eyes of the people who lived through the era. School doesn’t teach history in a way that I can grasp, but putting myself into the shoes of the ordinary people who experienced, I have a better understanding of the time. Being able to access different perspectives on history and historical events and make an emotional connection with the past allowed readers to better understand the lived experiences of those from the past. This didn’t mean that readers were ignoring the fictional nature of the genre; rather, readers were clearly aware that the author was often taking liberties with history in order to advance the plot. Yet they still enjoyed the “glimpses of history that is included in the story”, adding that the “fictional details makes the history come alive”. The Past Represents a Different Society For some, historical romances presented a different society, and in some ways a nostalgia for the past. This from one participant: I like the attention to eloquence, to good speech, to manners, to responsibility toward each other, to close personal relationships, to value for education and history, to an older, more leisurely, more thoughtful way of life. A similar view was offered by another participant: “I like the language. I like the slowness, the courtship. I like the olden time social rules of honour and respect. I like worlds in which things like sword fights might occur”. For these respondents, there is a nostalgia where things were better then than now (Davis 18). Readers clearly identified with the different social and moral behaviours that they experienced in the novels they are reading, with one identifying more with the “historical morals, ethics, and way of life than I do modern ones”. Representations of a more respectful past were one aspect that appealed to readers: “people are civil to each other”, they are “generally kinder” and have a “more traditional moral code”. An aspect of escapism is also evident: “I enjoy leaving the present day for a while”. It is a past where readers find “time and manners [that are] now lost to us”. The genre reflects time that “seemed simpler” but “of course it helps if you are in the upper class”. Many historical romance novels are set within the social sphere of the elites of a society. And these readers’ views clearly indicate this: honestly, the characters are either wealthy or will be by the end, which releases from the day to day drudgeries and to the extent possible ensures an economic “happily ever after” as well as a romantic one … . I know the reality of even the elite wasn’t as lovely as portrayed in the books. But they are a charming and sometimes thrilling fantasy to escape inside … It is in the elite social setting that a view emerges in historical romance novels that “things are simpler and you don’t have today’s social issues to deal with”. No one period of history appears to reflect this narrative; rather, it is a theme across historical periods. The intrigue is in how the storyline develops to cope with social mores. “I enjoy reading about characters who wind their way around rules and the obstacles of their society … . Nothing in a historical romance can be fixed with a quick phone call”. The historical setting is actually an advantage because history places constrictions upon a plot: “no mobile phones, no internet, no fast cars. Many a plot would be over before it began if the hero and heroine had a phone”. Hence history and social mores “limit the access of characters and allow for interesting situations”. Yet another perspective is how readers draw parallels to the historic pasts they read about: “I love being swept away into a different era and being able to see how relevant some social issues are today”. There are however aspects that readers are less enamoured with, namely the lack of sex. While wholesome, particularly in the case of Christian authors, other characters are heroines who are virgins until after marriage, but even then may be virgins for “months or years after the wedding”. Similarly, “I deplore the class system and hate the inequalities of the past, yet I love stories where dukes and earls behave astonishingly well and marry interesting women and where all the nastiness is overcome”. The Problem with Authenticity The results of the international historical romance survey that forms the basis of this research indicate that most readers and writers alike were concerned with authenticity. Writers of historical romance novels often go to great lengths to ensure that their stories are imbued with historically accurate details. For readers, this “brings the characters and locales to life”. For readers, “characters can be fictional, but major events and ways of living should be authentic … dress, diet, dances, customs, historic characters”. Portraying historical accuracy is appreciated by readers: “I appreciate the time and effort the author takes to research subjects and people from a particular time period to make their work seem more authentic and believable”. Georgette Heyer, whose works were produced between 1921 and 1974, is considered as the doyenne of regency romance novels (Thurston 37), with a reputation for exacting historical research (Kloester 209). Heyer’s sway is such that 88 (10.8%) of the respondents to the romance survey cited her when asked who their favourite author is, with some also noting that she is a standard for other authors to aspire to. For one participant, I only read one writer of historical romance: Georgette Heyer. Why? Sublime writing skills, characterisation, delicious Wodehousian humour and impeccable accurate and research into the Regency period. Despite this prevailing view, “Heyer’s Regency is a selective one, and much of the broader history of the period is excluded from it” (Kloester 210). Heyer’s approach to history is coloured by the various approaches and developments to historiography that occurred throughout the period in which she was writing (Kloester 103). There is little evidence that she approached her sources with a critical eye and it appears that she often accepted her sources as historical fact (Kloester 112). Heyer’s works are devoid of information as to what is based in history and what was drawn from her imagination (Kloester 110). Despite the omissions above, Heyer has a reputation for undertaking meticulous research for her novels. This, however, is problematic in itself, as Alexandra Stirling argues: “in trying to recreate Regency patterns of speech by applying her knowledge of historical colloquialism, she essentially created her own dialect” that has come to “dominate the modern genre” (Stirling). Heyer is also highly criticised for both her racism (particularly anti-Semitism), which is reflected in her characterisation of Regency London as a society of “extreme whiteness”, which served to erase “the reality of Regency London as a cosmopolitan city with people of every skin colour and origin, including among the upper classes” (Duvezin-Caubet 249). Thus Heyer’s Regency London is arguably a fantasy world that has little grounding in truth, despite her passion for historical research. Historical romance author Felicia Grossman argues that this paradox occurs as “mixed in with [Heyer’s] research is a lot of pure fiction done to fit her personal political views” (Grossman), where she deliberately ignores historical facts that do not suit her narrative, such as the sociological implications of the slave trade and the very public debate about it that occurred during the regency. The legacy of these omissions can be found in contemporary romances set in that period. By focussing on, and intensifying, a narrow selection of historical facts, “the authentic is simultaneously inauthentic” (Hackett 38). For one participant, “I don’t really put much stock into “historical accuracy” as a concept, when I read a historical romance, I read it almost in the way that one would read a genre fantasy novel, where each book has its own rules and conventions”. Diversifying the Bubble The intertwining of history and narrative posits how readers separate fact from fiction. Historical romance novels have often been accused by both readers and critics of providing a skewed view on the past. In October 2019 the All about Romance blog asked its readers: “Does Historical Romance have a quality problem?”, leading to a strong debate with many contributors noting how limited the genre had developed, with the lack of diversity being a particular strain of discussion. Just a few weeks later, the peak industry body, the Romance Writers Association of America, became embroiled in a racism controversy. Cultural products such as romance novels are products of a wider white heteronormative paradigm which has been increasingly challenged by movements such as the LGBTQI+, Me Too, and Black Lives Matter, which have sought to address the evident racial imbalance. The lack of racial representation and racial equality in historical novels also provides an opportunity to consider contemporary ideals. Historical romance novels for one participant provided a lens through which to understand the “challenges for women and queers”. Being a genre that is dominated by both female writers and readers (the Romance Writers Association claims that 82% of readers are female), it is perhaps no surprise that many respondents were concerned with female issues. For one reader, the genre provides a way to “appreciate the freedom that women have today”. Yet it remains that the genre is fictional, allowing readers to fantasise about different social and racial circ*mstances: “I love the modern take on historical novels with fearless heroines living lives (they maybe couldn’t have) in a time period that intrigues me”. Including strong women and people of colour in the genre means those once excluded or marginalised are centralised, suggesting historical romance novels provide a way of fictionally going some way to re-addressing gender and racial imbalances. Coupled with romance’s guarantee of a happy ending, the reader is assured that the heroine has a positive outcome, and can “have it all”, surely a mantra that should appeal to feminists. “Historical romance offers not just escape, but a journey – emotional, physical or character change”; in this view, readers positively respond to a narrative in which plots engage with both the positive and negative sides of history. One participant put it this way: “I love history especially African American history. Even though our history is painful it is still ours and we loved just like we suffered”. Expanding the Bubble Bridgerton (2020–), the popular Netflix show based upon Julia Quinn’s bestselling historical romance series, challenges the whitewashing of history by presenting an alternative history. Choosing a colour-blind cast and an alternate reality where racism was dispelled when the King marries a woman of colour and bestowed honours on citizens of all colours, Bridgerton’s depiction of race has generally been met with positive reviews. The author of the series of books that Bridgerton is adapted from addressed this point: previously, I’ve gotten dinged by the historical accuracy police. So in some ways, I was fearful – if you do that, are you denying real things that happened? But you know what? This is already romantic fantasy, and I think it’s more important to show that as many people as possible deserve this type of happiness and dignity. So I think they made the absolutely right choice, bringing in all this inclusivity (Quinn cited in Flood). Despite the critics, and there have been some, Netflix claims that the show has placed “number one in 83 countries including the US, UK, Brazil, France, India and South Africa”, which they credited partly to audiences who “want to see themselves reflected on the screen” (Howe). There is no claim to accuracy, as Howe argues that the show’s “Regency reimagined isn’t meant to be history. It’s designed to be more lavish, sexier and funnier than the standard period drama”. As with the readers surveyed above, this is a knowing audience who are willing to embrace an alternate vision of the past. Yet there are aspects which need to remain, such as costume, class structure, technology, which serve to signify the past. As one participant remarked, “I love history. I love reading what is essentially a fantasy-realism setting. I read for escapism and it’s certainly that”. “The Dance of History and Fiction” What is evident in this discussion is what Griffiths calls the “dance of history and fiction”, where “history and fiction … are a tag team, sometimes taking turns, sometimes working in tandem, to deepen our understanding and extend our imagination” (Griffiths). He reminds us that “historians and novelists do not constitute inviolable, impermeable categories of writers. Some historians are also novelists and many novelists are also historians. Historians write fiction and novelists write history”. More so, “history doesn’t own truth, and fiction doesn’t own imagination”. Amongst other analysis of the intersections and juxtaposition of history and fiction, Griffiths provides one poignant discussion, that of Kate Grenville’s novel The Secret River (2006). According to the author's own Website, The Secret River caused controversy when it first appeared, and become a pawn in the “history wars” that continues to this day. How should a nation tell its foundation story, when that story involves the dispossession of other people? Is there a path between the “black armband” and the “white blindfold” versions of a history like ours? In response to the controversy Grenville made an interesting if confusing argument that she does not make a distinction between “story-telling history” and “the discipline of History”, and between “writing true stories” and “writing History” (Griffiths). The same may be said for romance novelists; however, it is in their pages that they are writing a history. The question is if it is an authentic history, and does that really matter? References Davis, Fred. Yearning for Yesterday: A Sociology of Nostalgia. Free Press, 1979. De Groot, Jerome. Consuming History Historians and Heritage in Contemporary Popular Culture. Florence Taylor and Francis, 2009. Duvezin-Caubet, Caroline. "Gaily Ever After: Neo-Victorian M/M Genre Romance for the Twenty-First Century." Neo-Victorian Studies 13.1 (2020). Flood, Alison. "Bridgerton Author Julia Quinn: 'I've Been Dinged by the Accuracy Police – but It's Fantasy!'." The Guardian 12 Jan. 2021. 15 Jan. 2021 <https://www.theguardian.com/books/2021/jan/12/bridgerton-author-julia-quinn-accuracy-fantasy-feisty-rakish-artistocrats-jane-austen>. Griffiths, Tom. "The Intriguing Dance of History and Fiction." TEXT 28 (2015). Grossman, Felicia. "Guest Post: Georgette Heyer Was an Antisemite and Her Work Is Not Foundational Historical Romance." Romance Daily News 2021 (2020). <https://romancedailynews.medium.com/guest-post-georgette-heyer-was-an-antisemite-and-her-work-is-not-foundational-historical-romance-fc00bfc7c26>. Hackett, Lisa J. "Curves & a-Lines: Why Contemporary Women Choose to Wear Nostalgic 1950s Style Clothing." Sociology. Doctor of Philosophy, University of New England, 2020. 320. Howe, Jinny. "'Bridgerton': How a Bold Bet Turned into Our Biggest Series Ever." Netflix, 27 Jan. 2021. <https://about.netflix.com/en/news/bridgerton-biggest-series-ever>. Kloester, Jennifer V. "Georgette Heyer: Writing the Regency: History in Fiction from Regency Buck to Lady of Quality 1935-1972." 2004. NPD. "Covid-19 Lockdown Gives Romance a Lift, the NPD Group Says." NPD Group, 2020. 2 Feb. 2021 <https://www.npd.com/wps/portal/npd/us/news/press-releases/2020/covid-19-lockdown-gives-romance-a-lift--the-npd-group-says/>. Romance Writers of America. "About the Romance Genre." 2016. 2 Feb. 2021 <https://www.rwa.org/Online/Romance_Genre/About_Romance_Genre.aspx>. Stirling, Alexandra. "Love in the Ton: Georgette Heyer's Legacy in Regency Romance World-Building." Nursing Clio. Ed. Jacqueline Antonovich. 13 Feb. 2020. <https://nursingclio.org/2020/02/13/love-in-the-ton-georgette-heyers-legacy-in-regency-romance-world-building/>. Thurston, Carol. The Romance Revolution : Erotic Novels for Women and the Quest for a New Sexual Identity. Urbana: University of Illinois Press, 1987.

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‘Artists are replicants who have found the secret of their obsolescence.’ (Brian Massumi) The critical reception to British writer Iain Sinclair’s most recent novel Dining on Stones (or, the Middle Ground) frequently focused on the British writer’s predilection for intertextual quotation and allusion, and more specifically, on his proclivity for integrating material from his own backlist. A survey of Dining on Stones reveals the following textual duplication: an entire short story, “View from My Window”, which was published in 2003; excerpts from a 2002 collection of poetry and prose, White Goods; material from his 1999 collaboration with artist Rachel Lichtenstein, Rodinsky’s Room; a paragraph lifted from Dark Lanthorns: Rodinsky’s A to Z, also from 1999; and scenes from 1971’s The Kodak Mantra Diaries. Moreover, the name of the narrator, Andrew Norton, is copied from an earlier Sinclair work, Slow Chocolate Autopsy. Of the six aforementioned inter-texts, only Rodinsky’s Room has had wide commercial release. The remainder are small press publications, often limited edition, difficult to find and read, which leads to the charge that Sinclair is relying on the inaccessibility of earlier texts to obscure his acts of autoplagiarism in the mass market Dining on Stones. Whatever Sinclair’s motives, his textual methodology locates a point of departure for an interrogation of textual doubling within the context of late era capitalism. At first approximation, Dining on Stones appears to belong to a postmodern literature which treats a text’s confluence, or dissonance of innumerable signifiers and systems of signification as axiomatic and intra-textually draws attention to this circ*mstance. Thematically, the heteroglot narrative of Dining on Stones frequently returns to the duplication of textual material. The book’s primary narrator is haunted by doubles, not least because Andrew Norton periodically functions as a textual doppelganger for Sinclair. Norton’s biography constitutes a cut-up of episodes copied from Sinclair’s personal history and experience as it is presented in his non-fiction and quasi-autobiographical poetry and prose like Lights Out for the Territory and London Orbital. Like his creator, Norton is ontologically troubled by a fetch, or two, who may or may not be the products of his writer’s imagination. He claims that someone is ‘stealing my material. He impersonated me with a flair I couldn’t hope to equal, this thief. Trickster.’ (218) A ‘disturbing’ encounter with ‘Grays’, an uncannily familiar short story by another writer Marina Fountain, reveals a second textual poacher copying Norton’s work. She hadn’t written it without help, obviously. The tone was masculine, sure of itself, its pretensions; grammatically suspect, lexicologically challenged, topographically slapdash. A slash-and-burn stylist. But haunted: by missing fathers – Bram Stoker, S. Freud and Joseph Conrad. Clunky hints… about writing and stalking, literary bloodsucking, gender, disguise. … But it was the Conrad aspect that pricked me. Fountain had somehow got wind of my researched (incomplete, unpublished) essay on Conrad in Hackney. Her exaggerated prose, its shotgun sarcasm, jump-cuts, psychotic syntax, was an offensive parody of a manner of composition I’d left behind. (167) When ‘Grays’ is later reprinted in full in the novel (141-65), it is a renamed double of a previous Sinclair piece, ‘In Train for the Estuary’ (Sinclair, White Goods, 57-75). This doubling is replicated with another Sinclair story ‘View from My Window’ also being attributed to Fountain (313-341). Neither the style, nor the content of Sinclair’s previous works have been discarded: they have been reproduced and incorporated in Dining on Stones’ retrospective of Sinclair’s earlier work. Thus, Norton’s review of Fountain’s writing as ‘a manner of composition I’d left behind’ doubles as Sinclair’s self-conscious recognition of the text as an artefact produced from diverse inter-texts – including his own. In contrast to Sinclair’s dialogic doubling, Fountain’s double is of a monologic disposition. It is mechanical ‘echopraxis,’ a neologism coined in Dining on Stones which is defined as the ‘mindless repetition of another person’s moves and gestures.’ (192) Its mercenary dimension, enacted without regard for the integrity of the inter-text, is underscored with the epithet ‘slash-and-burn stylist.’ The monologic double possesses the text, drains it of its vitality. It entails necrosis, mortification. Fountain’s appropriation of Norton’s story is close to Fredric Jameson’s characterisation of pastiche which, he says, shuts down communication between texts (202). For Jameson, pastiche is the exemplary postmodern literary ‘style’. It is inert, static, a textual aporia. Jameson’s verdict is harsh: pastiche is cannibalism, text devouring text with an appetite that corresponds to the cupidity of consumer culture. Textual cannibalism vanquishes dialogism. It is the negation of the textual Other because cannibalism is only possible when the Other no longer exists. So how does Sinclair distinguish his doubling of his own text from Fountain’s monologic doubling as it is depicted in the novel’s narrative? A clue can be detected in one of the stories stolen by Fountain. ‘In Train for the Estuary’ is a re-writing of Dracula, and takes its cue from Karl Marx’s famous analogy between capitalism and vampirism: ‘capital is dead labour, which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks.’ (342) Sinclair’s vampire doubles as an academic (or is it the other way round?) who obsessively and compulsively stalks her quarry/object of study, Joseph Conrad. First, she had learnt Polish. Then she tracked down the letters and initiated the slow, painstaking, much-revised process of translation. She travelled. Validated herself. Being alone in an unknown city, visiting libraries, enduring and enjoying bureaucratic obfuscation, sitting in bars, going to the cinema, allowed her to try on a new identity. She initiated correspondence with people she never met. She lied. She stole from Conrad. (Sinclair, White Goods, 58) The woman’s identity is leeched from the work of Conrad. Sinclair describes unethical activity in appropriating text: lying, stealing, sucking the blood from the corpus of Conrad. A compulsive need to maintain the ‘validation’ of this poached identity emerges, manifesting itself as addiction. The addict is an extreme embodiment of the (ir)rationality of consumption: consumed by the need to consume. The woman’s lust for text is commensurate with the twin desires—blood and real estate—of her precursor, Bram Stoker’s Dracula. Sinclair’s narrative of addiction doubles as a meta-critique on the compulsive desire to reproduce text and image that characterizes postmodern textualities as well as the apparatuses that produce them. The textual doubling in Dining on Stones, which is published by the multinational Penguin, seems to enact a reterritorialisation of a deterritorialised minor literature. However, Sinclair’s allegorical rewriting of the vampire legend and its subsequent inclusion in the mainstream novel’s narrative, reveal that capitalism’s doubles are simulacra in the Aristotelian sense because they are copies for which there is no original. The ostensible ‘original’ is the product of different material conditions and thus cannot be duplicated by the machinery of capitalism. The capitalist reproduction of text produced within an alternative cultural economy is an uncanny double (with an infinite capacity to be doubled over and over again) whose existence, like that of Sinclair’s academic in White Goods, is parasitical. The capitalist simulacrum necessitates that the original be destroyed, or at the very least, theorised out of existence so that restrictions based on its own premise of individual property rights can be circumvented. Postmodernism’s attendant theory is an over-determined repetition of poststructuralist tenets such as the instability of texts, the polysemous signifier and the impossibility of self as empirical subject. Images and meaning are no longer anchored, and free to be reproduced. Paradoxically, this proliferation of signification has the effect of constricting the originary text, compressing it under the burden of competing meanings, so that it is almost undetectable. Writes Brian Massumi (doubling Jean Baudrillard), ‘postmodernism stutters. In the absence of any gravitational pull to ground them, images accelerate and tend to run together. They become interchangeable. Any term can be substituted for any other: utter indetermination.’ The postmodern project’s effacement of the centred subject and the self has as its consequence, according to Jameson, a ‘waning of affect’ which is superseded ‘by a peculiar kind of euphoria.’ (200) The euphoria to which Jameson refers is not that of the poststructuralist textasy. Instead, it is postmodernism’s return to the idealism of Hegelian dialects, a euphoria achieved from the fusion of contradictions. Postmodernism’s doubles are a utopian attempt to synthesize antinomy and unity in a simultaneity that assimilates the fragmentation of modernity and the modern subject, with the cohesion of the commodity and its closed system of cultural logic. As such, the postmodern double is a rejection of modernist engagements with technical reproducibility. Modernism’s literary assemblages are, in Victor Shlovsky’s words, the laying bare of the device, an exposition of the seams through techniques such as collage, bricolage and montage. These linguistic (and at times visual) conjunctures of disparate elements do not attempt to elide material and thematic disjuncture. As Walter Benjamin stresses, this type of textual methodology has the potential, through the disruption of spatial and temporal logic and the creation of anachrony, to rupture the linear representations and formations of order favoured by capitalist political economies (Benjamin, ‘On the concept of history’). Postmodernism, which doubles (following Jameson’s formulation) as the cultural logic of late capitalism, reiterates that texts can be undone, and then reassembled, rearticulated anew, rendered useful to a commodity culture over and over again. Consequently, postmodernism’s copies are analogous, at the level of cultural production, to capitalism’s ceaseless appropriation of discourse, practice, and production. This is the alchemical project of capitalism. It strives to transform everything that it has doubled into the gold of the commodity. The inherent dangers of unrestrained reproduction are for Jameson exemplified in the treatment of Van Gogh’s Pair of Shoes (1885): If this copiously reproduced image is not to sink to the level of sheer decoration, it requires us to reconstruct some initial situation out of which the finished work emerges. Unless that situation—which has vanished into the past—is somehow mentally restored, the painting will remain an inert object, a reified end-product, and be unable to be grasped as a symbolic act in its own right, as praxis and as production. (194) Jameson’s reading of Van Gogh’s shoes reminds us of the fate of Alberto Korda’s 1960 photograph of revolutionary Che Guevara. Appropriated by the media, inscribed on T-shirts, mugs, even door mats, Che’s portrait is an emblem of the degradation Jameson describes. Like Van Gogh’s painting, Korda’s photograph was once a ‘symbolic act in its own right, as praxis and as production,’ saturated with the potential and spirit of revolution. Over time, the iconic image has leaked meaning. The signifying chain that anchored it to its original significance is broken each time it is reproduced and decontextualised through the process of commodification, until Che’s image is unrecognisable, a mere ornament. Refuting Benjamin’s concerns in ‘The Work of Art in its Age of Technical Reproducibility’ postmodern theory argues that technologies enabling reproducibility have led to a democratisation of text and textual production, and by extension, have liberated the multitude from a hierarchy of value that privileges the singular. Mass reproduction and the accompanying pressure for texts to be accessible results in altered attitudes regarding the preservation of intellectual property rights and ‘fair use’. In an economy of signs where use-value has become synonymous with exchange-value, then the text which has no exchange value due to it being ‘freely’ available—‘free’ in its double sense, as something exempt from restriction, or cost—can be copied without economic or ethical restraint, without permission. The quotation marks can be scrapped. According to postmodern logic, the double is a transposition with a legitimacy equalling, even rivalling the original. Clearly, Jameson’s lament that postmodernism represents ‘the end of the distinctive individual brushstroke (as symbolized by the emergent primacy of mechanical reproduction)’ cannot escape an association with elitism because technical reproducibility indubitably enables greater access. However, the utility of technologies of reproduction to the capitalist empire of structures and signs cannot be underestimated. It enables the ceaseless reproduction of ideologemes inscribed with the logic of capitalism; in other words, it enables capitalism to reproduce itself relentlessly. Postmodern cultural production is self-aware; it acknowledges its role as commodity and reproduces the ideology of the commodity form in its material form. In this manner, it functions as an ideologeme. Sinclair’s doubles cannot be understood according to the schema of postmodernism because he subverts postmodernism’s political and aesthetic symbiosis with capitalism. Moreover, the double in Sinclair travels beyond rehearsing a self-conscious hyphology (Barthes, 39). He defies postmodernism’s occultation of the author through his reiteration of the author’s authority over their own work. In contrast to the reductive manner postmodern texts duplicate other texts, Sinclair’s texts propose a typology of the double which advocates a dialogic duplication. Sinclair’s doubling refuses postmodernism’s return to the idealism of Hegelian dialects, and its synthesis of contradictions in the service of its unified material and aesthetic program: the commodification of literature. Consequently, Dining on Stones’ textual doubling is a critique of the epistemic shift to the monologic double which Jameson claims typifies a large portion of contemporary textual duplication. References Barthes, Roland. “Theory of the Text.” Untying the Text: A Post-Structuralist Reader. Ed. Robert Young. Boston: Routledge and Kegan Paul, 1981. Benjamin, Walter. “On the Concept of History.” Selected Writings: Volume 4, 1938-1940. Trans. by Edmund Jephcott. Eds. Michael W.Jennings & Howard Eiland. Cambridge, Mass. & London, England: Belknap Press, 2003. ––– . “The Work of Art in the Age of Technical Reproducibility.” Selected Writings: Volume 3, 1935-1938. Trans. by Edmund Jephcott. Eds. Michael W.Jennings & Howard Eiland. Cambridge, Mass. & London, England: Belknap Press, 2003. Jameson, Fredric. “Postmodernism, or the Cultural Logic of Late Capitalism.” The Jameson Reader. Eds. Michael Hardt and Kathi Weeks. Oxford: Blackwell, 2000. Massumi, Brian. “Realer than Real: The Simulacrum According to Deleuze and Guattari.” 12 May 2005. http://www.anu.edu.au/HRC/first_and_last/works/realer.htm>. Marx, Karl. Capital, Volume 1. Trans. by Ben Fowkes. Vintage Books edition. New York: Random House, 1976. Sinclair, Iain. Dark Lanthorns: Rodinsky’s A-Z. ––– . Dining on Stones. London: Hamish Hamilton, 2004. ––– . Lights Out for the Territory. London: Granta 1997. ––– . London Orbital. London: Granta, 2002. ––– . Rodinsky’s Room. London: Granta, 1998. ––– . View from My Window. Tonbridge: Worple Press, 2003. ––– . White Goods. Uppingham: Goldmark, 2002. Sinclair, Iain, and Dave McKean. Slow Chocolate Autopsy. London: Phoenix, 1997. Citation reference for this article MLA Style Seale, Kirsten. "Doubling: Capitalism and Textual Duplication." M/C Journal 8.3 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0507/08-seale.php>. APA Style Seale, K. (Jul. 2005) "Doubling: Capitalism and Textual Duplication," M/C Journal, 8(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0507/08-seale.php>.

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This essay delves into Nietzsche’s understanding of the jester in Thus Spoke Zarathustra. I argue here that its existence explains the shifting ethos from tragedy to comedy. The jester in the societal context exhibits the figure of fictionalism that redirects reality into a detour of comic interplays. As such, he embodies fictional overcoming from the modern backdrop. I then employ On the Genealogy of Morals to explain further four principles that aid in taking into effect the birth of the jester. Nietzsche’s critique of morality attacks such principles as ressentiment, guilt and bad conscience taken together, free will, and ascetic ideal. Later, I present a way of going into the shadows as a manner of confronting the jester and overcoming it. References Alfano, Mark, Character as Moral Fiction. Cambridge: Cambridge University Press, 2013. Allison, David, Reading the New Nietzsche, The Birth of Tragedy, The Gay Science, Thus Spoke Zarathustra, and On the Genealogy of Morals. Plymouth, UK: Rowman & Littlefield Publishers, Inc. Arthur Schopenhauer, World as Will and Representation, vol. II, trans. E.F.J. Payne, (New York: Dover Publications. 1969. Bordo, Susan, The Flight to Objectivity: Essays on Cartesianism and Culture. Albany, State University of New York Press: 1987. Burnham, Douglas, and Martin Jesinghausen, Nietzsche’s Thus Spoke Zarathustra. Edinburgh: Edinburgh University Press, Ltd., 2010. Catherine Carlstroem, “Conclusion,” in The Jester and the Sages: Mark Twain in Conversation with Nietzsche, Freud, and Marx. Missouri: University of Missouri Press, 2011, 135-136. Chaput, Charles, “Religion and the Common Good,” Communio vol. 34 no. 1 (Spring 2007). Deleuze, Gilles (1983): Nietzsche and Philosophy (H. Tomlinson, Trans.). New York: Columbia University Press, 1983. Dienstag, Joshua Foa, Nietzsche's Dionysian Pessimism, the American Political Science Review, Vol. 95, No. 4 (Dec., 2001). Foucault, Michel, Madness and Civilization: A History of Insanity in the Age of Reason. Vintage, 1989. Hannah Petkin, Fortune is a Woman: Gender and Politics in the Thought of Niccolo Machiavelli. Berkeley and Los Angeles: University of California Press, 1984. Hemming, Laurence Paul, Heidegger’s Atheism. Notre Dame: University of Notre Dame Press: 2002. Jung, Carl, Nietzsche’s Zarathustra: Notes of the Seminar Given in 1934-1939, vol. 1. Routledge, 2014. Koyré, Alexander, From the Closed World to the Infinite Universe. Baltimore: The Johns Hopkins Press, 1957. Lampert, Laurence, Nietzsche’s Teaching: An Interpretation of Thus Spoke Zarathustra. New Haven and London: Yale University Press, 1986. Landa, Ishay, “Aroma and Shadow: Marx vs Nietzsche on Religion,” in Nature, Society, and Thought, vol. 18, no. 4 (2005). 461-499. May, Simon, Nietzsche’s Ethics and his War on ‘Morality’, Oxford: Clarendon Press, 1999. Niemeyer, Christian, “Nietzsche – Only a Jester? The language of Zarathustra and pedagogy. An Interim Assessment of 125 years of reception history,” in Zeitschrift für Pädagogik vol. 57, no. 1 (2011), pp. 55-69. Nietzsche, Friedrich, Beyond Good and Evil: Prelude to the Philosophy of the Future (H. Zimmern, Trans.). New York: Dover Publications, 1997. (Original work published 1886). ____________. Nietzsche Contra Wagner (J. Norman, Trans.) (A. Ridley, Ed.). Cambridge University Press, 2005. ____________. On the Genealogy of Morals: A Polemic (D. Smith, Trans.). New York: Oxford University Press, 1996. (Original work published 1887). ____________. The Anti-Christ: A Curse on Christianity (W. Kaufmann, Trans.). In the Portable Nietzsche. New York: Penguin Books, pp. 565–656, 1976. ____________. The Birth of Tragedy (C. P. Fadiman, Trans.). New York: Modern Library, 1927. (Original work published 1872). ____________. The Gay Science (W. Kaufmann, Trans.). New York: Vintage Books, 1974. (Original work published 1882). ____________. The Will to Power (W. Kaufmann, & R. J. Hollingdale, Trans.). New York: Vintage Books, 1968. (Original work published 1901). ____________. Thus Spoke Zarathustra: A Book for Everyone and No One (R. J. Hollingdale, Trans.). New York: Penguin Books, 1969. (Original work published 1883–1891). Reginster, Bernard, The Affirmation of Life: Nietzsche on Overcoming Nihilism. Cambridge, MA: Harvard University Press, 2006. Rusten, Jeffery (ed.), The Birth of Comedy. Texts, Documents, and Art from Athenian Comic Competitions, 486-280, trans. Jeffery Henderson, David Konstan, Ralph Rosen, Jeffery Rusten, and Niall W. Slater, Baltimore: The Johns Hopkins University Press, 2011. Seung, T.K., Nietzsche’s Epic of the Soul, Thus Spoke Zarathustra. Oxford: Lexington Books, 2005. Strong, Tracy, Nietzsche and Politics, in Nietzsche: A Collection of Critical Essays, ed. Robert Solomon. Notre Dame: University of Notre Dame Press, 1973. Tassi, Aldo, “Modernity as the Transformation of Truth into Meaning”, Readings in Philosophy of Man, Ateneo de Manila University, 1986. Turi, Zita, “’Border Liners’”. The Ship of Fools Tradition in Sixteenth-Century England,” in TRANS – Revue de litterature generale et comparee, (2010): https://doi.org/10.4000/trans.421 Velkley, Richard (Ed.). Leo Strauss on Nietzsche’s Thus Spoke Zarathustra. Chicago: The University of Chicago Press, 2017.

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In the third episode of the British sci-fi/thriller television series Torchwood (BBC3, 2007-) the team are investigating a portable ‘ghost machine’, which allows its users to see events which occurred in the past. After visiting an old man whose younger self the device may have allowed them to witness, the team’s medic, Owen Harper, spots Bernie Harris, who’d previously been in possession of the machine. A chase ensues; they run past a park, between a gang of kids playing football, over a railway bridge, through a housing estate, and eventually Bernie is cornered in a back garden and taken away for questioning. The scene demonstrates the series’ intention to be a fast-paced, modern, glossy thriller, with loud incidental music, fast cuts, and energetic camerawork. Yet for me the scene has quite a different meaning. The housing estate they run through is the one in which I used to live; the railway bridge they run over is the one I crossed every day on my way to and from work; the street they run down is my street; and there, in the background, clear and apparent and obvious for all to see, is my home. Yes; my house was on Torchwood. As Blunt and Dowling note, “home does not simply exist, but is made … [and] … this process has both material and imaginative elements” (23). It is through such imaginative elements that we turn ‘spaces’ that are “unnamed, unhistoried, unnarativized” into ‘places’ that are “indubitably bound up with personal experience” (Darby 50). Such experiences may be ‘real’ (as in things that actually happened there) or ‘representational’ (as in seen on television); my relationship to ‘home’ is here being inflected through the “indexical bond” (Kilborn and Izod 29) that links both of these strategies. In using a scene from Torchwood to say something about my personal history, I’m taking what is, in essence, a televisual ‘space’ and converting it into a ‘place’ which is not only defined by my “profilmic” (Ward 8) relationship to it, but also helps express that relationship. Telling everyone that my house was on Torchwood certainly says something about the programme; but more fundamentally I’m engaging in a process intended to say something about me. A bit of autobiography. The house is in Splott, a residential area of Cardiff, the capital of Wales, where Torchwood is set and filmed. I lived in Cardiff from 2000 to 2006, when I worked at the University of Glamorgan. For much of that time I lived in rented accommodation in Cathays, the student area of Cardiff. But in 2005 I bought a house in Splott, and this was the first property I ever owned. A year later I moved to Norwich (virtually the other side of the UK from Cardiff) to take a job at the University of East Anglia, but I kept the house in Cardiff and now rent it out. It was while living in Norwich that my house appeared on Torchwood, and I had no idea that the programme had been filming in that area. This means that, strictly speaking, at the time it was on television the property was no longer my ‘home’, but was instead my tenants’. Yet what I want to examine here is the “geography of feeling and emotion” (Rodaway 263) which is central to the idea of ‘home’, and which has been kick-started in me since some fictional television characters ran down the street I used to live in and the ‘real’ and the ‘representational’ began to intersect. There certainly is something personal which is required in order to turn a ‘space’ into a ‘place’, but what is it that then transforms it into ‘home’? That is, for me Cardiff is more than a ‘place’ which I know. Owning a property there makes a difference, but that is to too easily equate a commercial transaction with an emotive sense of feeling. Indeed, Cardiff felt like ‘home’ before I’d bought a house, and the majority of my memories of the city are connected to other properties I’ve lived in. In a capitalist society it’s tempting to equate ‘home’ with the property we own, and this probably is the case for the majority of people (Morley 19). Nevertheless, something emotive stirred in me when I saw my house in a chase sequence on a science-fiction television programme when I live in an entirely different city. Tuan defines this as ‘topophilia’, which is “the affective bond between people and place or setting” (Topophilia 4), and it’s clear that such bonds can be highly emotionally charged and a significant aspect of one’s sense of self. This is noticeable because of the ways in which I’ve used my house’s appearance on television. I’ve not been quiet about it; I was telling everyone at work the day after it appeared. Whenever people mention Torchwood it’s something I point out. This might not sound as if that is likely to occur very often, but considering the programme is a spin-off from the highly successful revival of Doctor Who (BBC1, 1963-89, 1996, 2005-) it is part of a well-known media landscape. Both Doctor Who and Torchwood are predominantly filmed in Cardiff and the surrounding areas of South Wales, but whereas Torchwood is also narratively set in Cardiff, Doctor Who merely uses the locations to represent other places, most often London. Yet many of these places are distinctive and therefore obviously Cardiff for those who know the area. For example, the hospital in the episode ‘New Earth’ (2006) is recognisably the interior of the Wales Millennium Centre, just as the exterior location where the Tardis lands at the beginning of the episode is clearly Rhossili on the Gower Peninsula. Inevitably, the use of such locations has often disrupted my understanding of the story being told. That is, it’s hard to accept that this episode is taking place on a planet at the other end of the galaxy thousands of years into the future if the characters are standing on a cliff you recognise because you’ve been camping there. Of course, the use of locations to represent other places is necessary in media fictions, and I’m not trying to carry out some kind of trainspotter location identification in an attempt to undermine the programme’s diegesis. But it is important to note that while “remembering is a process that today is increasingly media-afflicted” (Hoskins 110), media texts can also be affected by the memories, whether communal or individual, that we bring to bear on them. A ‘real’ relationship with a place can be so intimate that it refuses to be ignored when ‘representations’ require it to be unnecessary. I’m a fan of Doctor Who and would rather not recognise the places so I can just get on with enjoying the programme. But it’s not possible to simply erase “Expressions of community” (Moores 368) which bring together identity and place, especially when that place is your home. Importantly, my idea of ‘home’ is inextricably bound up in the past. As it is a place I no longer live in, the ways in which I feel towards it are predicated on the notion that I used to live there, but no longer do. It’s clear that notions of home – especially those related to nation – are often predicated on ideas of history with significant emotional resonance (Anderson; Blunt and Dowling 140-195; Calhoun). This is a place that is an emotional rather than geographical home, even if it used to also be my home geographically. In buying a house, and engaging in the consumer culture which dominates the ways in which we turn a house into a home (oh, those endless hours at Ikea), I spent a lot of time wondering what it was that this sofa, or those lampshades, or that rug, said about me. The idea that the buildings that we own are a key way of creating and demonstrating a particular kind of identity or affiliation with a certain social group is necessary to consumer capitalism. But as I no longer live in it, the inside of this house can no longer be used as something I can show to other people hoping that they’ll ‘read’ my home how I want them to. Instead, the sense of home invigorated by my house’s appearance on Torchwood is one centred on location, related to the city and the housing estate where my house is, rather than what I did to it. ‘Home’ here becomes something symbolised by the bricks and mortar of the house I bought, but is instead more accurately located in the city and area which the house sits in; Cardiff. More importantly, Cardiff and my house become emotionally meaningful because I’m no longer there. That is, while it’s clear I had a particular relationship to Cardiff when I was a resident, this has altered since my move to Norwich. In moving to a new city – one which I had never visited before, and had no family or friends living in – it seems that my understanding of Cardiff as my ‘home’ has become intensified. This might be because continuing to own property there gives me an investment in the city, both emotionally and financially. But this idea of ‘home’ would, I think, have existed even if I’d sold my house. Instead, Cardiff-as-home is predicated on an idea of personal history and nostalgia (Wheeler; Massey). Academics are used to moving great distances in order to get jobs; indeed, “To spend an entire working career in a single department may seem to be a failure of geographical imagination” (Ley 182). The labour market insists that “All people may now be wanderers” (Bauman, Globalization 87), and hence geographical origins become something to be discussed with new colleagues. For me, like most people, this is a complicated question; does it mean where I was born, or where I grew up, or where I studied, or where I have lived most of my life? In the choices I make to answer this question, I’m acknowledging that “migration is a complex process of cultural negotiation, resistance, and adaptation” (Sinclair and Cunningham 14). As Freeman notes, “the history one tells, via memory, assumes the form of a narrative of the past that charts the trajectory of how one’s self came to be” (33, italics in original). Importantly, this narrative must be seen to make sense; that is, it must help explain the present, conforming to narrative ideas of cause and effect. In constructing a “narratable self” (Caravero 33, italics in original) I’m demonstrating how I think I came to end up where I am now, doing the job I’m doing. In order to show that “I am more than what the thin present defines” (Tuan, Space and Place 186) it’s necessary to reiterate a notion of ‘home’ which supports and illustrates the desired identity narrative. This narrative is as much about “the reflexive project of the self” (Gauntlett 99) in these “liquid times” (Bauman, Liquid Times), as it is a “performance” (Goffman) for others. The coherence and stability of my performance was undercut in a recent episode of Doctor Who – ‘Smith and Jones’ (2007) – in which a family row occurred outside a pub. I became quite distraught that I couldn’t work out where that pub was, and was later reassured to discover that it was in Pontypridd, a town a good few miles from Cardiff, and therefore it wasn’t surprising that I couldn’t recognise it. But in being distraught at not recognising locations I was demonstrating how central knowledge is to an idea of ‘home’. Knowing your way around, knowing where certain shops are, knowing the history of the place; these are all aspects of home, all parts of what Crouch calls “lay knowledge” (217). Ignorance of a space marks the outsider, who must stand on street corners with a map and ask locals for directions. For someone like me who prides himself on his sense of direction (who says I conform to gender stereotypes?) an inability to recognise a pub that I thought I should know suggested my knowledge of the area was dissipating, and so perhaps my ability to define that city as my home was becoming less valid. This must be why I take pleasure in noting that Torchwood’s diegesis is often geographically correct, for the ‘representational’ helps demonstrate my knowledge of the ‘real’ place’s layout. As Tuan notes, “When space feels thoroughly familiar to us, it has become place” (Space and Place 73), and the demonstration of that familiarity is one of the ways of reasserting one’s relationship to home. In demonstrating a knowledge of the place I’m defining as home, I’m also insisting that I’m not a tourist. Urry shows how visitors use a “tourist gaze” (The Tourist Gaze), arguing viewing is the most important activity when encountering a place, just as Tuan (Space and Place 16) and Strain (3) do. To visit somewhere is to employ “a dominance of the eye” (Urry, “Sensing the City” 71); this is why photography has become the dominant manner for recording tourist activity. Strain sees the tourist gaze as one “trained for consumerism” (15) with tourist activity defined primarily by commerce. Since Doctor Who returned Cardiff has promoted its association with the programme, opening an ‘Up Close’ exhibition and debating whether to put together a tourist trail of locations. As a fan of these programmes I’m certainly excited by all of this, and have been to the exhibition. Yet it feels odd being a tourist in a place I want to call home, and some of my activity seems an attempt to demonstrate that it was my home before it became a place I might want to visit for its associations with a television programme. For example, I never went and watched the programme being filmed, even though much of it was shot within walking distance of my house, and “The physical places of fandom clearly have an extraordinary importance for fans” (Sandvoss 61). While some of this was due to not wanting to know what was going to happen in the programme, I was uncomfortable with carrying out an activity that would turn a “landscape” into a “mediascape” (Jansson 432), replacing the ‘real’ with the ‘representational’. In insisting on seeing Cardiff, and my house, as something which existed prior to the programmes, I’m attempting to maintain the “imagined community” (Anderson) I have for my home, distinguishing it from the taint of commerce, no matter how pointless or naïve such an act is in effect. Hence, home is resolutely not a commercial place; or, at least, it is a location whose primary emotive aspects are not defined by consumerism. When houses are seen as nothing more than aspects of commerce, that’s when they remain ‘houses’ or ‘properties’; the affective aspects of ‘homes’ are instead emotionally detached from the commercial factors which bring them about. I think this is why I’m keen to demonstrate that my associations with Cardiff existed before Doctor Who started being made there, for if the place only meant anything to me because of the programme that would define me as a tourist and therefore undermine those emotional and personal aspects of the city which allow me to call it ‘home’. It also means I can be proud that such a cultural institution is being made in ‘my’ city. But it’s a city I can no longer claim residence in. This means that Torchwood and Doctor Who have become useful ways for me to ‘visit’ Cardiff. It seems I have started to adopt a ‘tourist gaze’, for the programmes visually recreate the locations and all I can do is view them, no matter how much I use my knowledge of location in an attempt to interpret those images differently from a tourist. It’s tempting to suggest that this shows how there is a “perpetual negotiation between the real event and its representation” (Bruzzi 9), and how willing I am to engage in the “mobile privatization” that Williams saw as a defining aspect of television (26). But this would be to accept the “unhomeyness” which results from “the ultimate failures of the home in postmodern times” (Lewis and Cho 74). In adopting an autobiographical approach to these issues, I hope I’ve demonstrated the ways in which individuals can experience emotional resonances related to ‘home’ which, while clearly inflected through the social, cultural, and technological aspects I’ve outlined, are nevertheless meaningful and maintain a dominance of the ‘real’ over the ‘representational’. Furthermore, my job tells me I shouldn’t feel this way about my home; or, at least, it reminds me that such emotionality can be explained away through cultural analysis. But that doesn’t in any way make ‘home’ any less powerful nor fully explain how such dry criteria mutate into humanist, emotional significance. So, I can tell you what my home is: but I’m not sure I can get you to understand how seeing my home on television makes me feel. In that sense it’s almost too neat that the episode which kick-started all of this is called ‘Ghost Machine’, for television has become the technology through which the ghosts of my home haunt me on a weekly basis, and ghosts have always been difficult to make sense of. References Anderson, Benedict. Imagined Communities. London: Verso, 1983. Bauman, Zygmunt. Globalization: The Human Consequences. Cambridge: Polity, 1998. ———. Liquid Times: Living in an Age of Uncertainty. Cambridge: Polity, 2007. Blunt, Alison, and Robyn Dowling. Home. London and New York: Routledge, 2006. Bruzzi, Stella. New Documentary: A Critical Introduction. London and New York: Routledge, 2000. Calhoun, Craig. Nations Matter: Culture, History, and the Cosmopolitan Dream. London and New York: Routledge, 2007. Caravero, Adriana. Relating Narratives: Storytelling and Selfhood. Trans. Paul A. Kottman. London and New York: Routledge, 2000/1997. Crouch, David. “Surrounded by Place: Embodied Encounters.” Tourism: Between Place and Performance. Eds. Simon Coleman and Mike Crang. New York and Oxford: Berghahn, 2002. 207-18. Darby, Wendy Joy. Landscape and Identity: Geographies of Nation and Class in England. Oxford and New York: Berg, 2000. Freeman, Mark. Rewriting the Self: History, Memory, Narrative. London and New York: Routledge, 1993. Gauntlett, David. Media, Gender and Identity: An Introduction. London and New York: Routledge, 2002. Goffmann, Erving. The Presentation of Self in Everyday Life. London: Penguin, 1959. Hoskins, Andrew. “Television and the Collapse of Memory.” Time and Society 13.1 (2004): 109-27. Jansson, André. “Spatial Phantasmagoria: the Mediatization of Tourism Experience.” European Journal of Communication 17.4 (2002): 429-43. Kilborn, Richard, and John Izod. An Introduction to Television Documentary: Confronting Reality. Manchester: Manchester UP, 1997. Lewis, Tyson, and Daniel Cho. “Home Is Where the Neurosis Is: A Topography of the Spatial Unconscious.” Cultural Critique 64.1 (2006): 69-91. Ley, David. “Places and Contexts.” Approaches to Human Geography. Eds. Stuart Aitken and Gill Valentine. London, Thousand Oaks and New Delhi: Sage, 2006. 178-83. Massey, Doris. For Space. London: Sage, 2005. Moores, Shaun. “Television, Geography and ‘Mobile Privatization’.” European Journal of Communication 8.4 (1993): 365-79. Morley, David. Home Territories: Media, Mobility and Identity. London and New York: Routledge, 2000. Rodaway, Paul. “Humanism and People-Centred Methods.” Approaches to Human Geography. Eds. Stuart Aitken and Gill Valentine. London, Thousand Oaks and New Delhi: Sage, 2006. 263-72. Sandvoss, Cornel. Fans: The Mirror of Consumption. Cambridge: Polity, 2005. Sinclair, John, and Stuart Cunningham. “Go with the Flow: Diasporas and the Media.” Television and New Media 1.1 (2000): 11-31. Strain, Ellen. Public Places, Private Journeys: Ethnography, Entertainment, and the Tourist Gaze. New Brunswick, New Jersey, and London: Rutgers UP, 2003. Tuan, Yi-Fu. Topophilia: A Study of Environmental Perception, Attitudes, and Values. New York: Columbia UP, 1974. ———. Space and Place: the Perspective of Experience. London: Edward Arnold, 1977. Urry, John. “Sensing the City.” The Tourist City. Eds. Dennis R. Judd and Susan S. Fainstein. New Haven and London: Yale UP, 1999. 71-86. ———. The Tourist Gaze. 2nd ed. London: Sage, 2002. Ward, Paul. Documentary: The Margins of Reality. London and New York: Wallflower, 2005. Wheeler, Wendy. A New Modernity: Change in Science, Literature and Politics. London: Lawrence and Wishart, 1999. Williams, Raymond. Television: Technology and Cultural Form. 2nd ed. London and New York: Routledge, 1990. Citation reference for this article MLA Style Mills, Brett. "What Happens When Your Home Is on Television?." M/C Journal 10.4 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0708/08-mills.php>. APA Style Mills, B. (Aug. 2007) "What Happens When Your Home Is on Television?," M/C Journal, 10(4). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0708/08-mills.php>.

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IntroductionCulinary education in Ireland has long been influenced by culinary education being delivered in catering colleges in the United Kingdom (UK). Institutionalised culinary education started in Britain through the sponsorship of guild conglomerates (Lawson and Silver). The City & Guilds of London Institute for the Advancement of Technical Education opened its central institution in 1884. Culinary education in Ireland began in Kevin Street Technical School in the late 1880s. This consisted of evening courses in plain cookery. Dublin’s leading chefs and waiters of the time participated in developing courses in French culinary classics and these courses ran in Parnell Square Vocational School from 1926 (Mac Con Iomaire “The Changing”). St Mary’s College of Domestic Science was purpose built and opened in 1941 in Cathal Brugha Street. This was renamed the Dublin College of Catering in the 1950s. The Council for Education, Recruitment and Training for the Hotel Industry (CERT) was set up in 1963 and ran cookery courses using the City & Guilds of London examinations as its benchmark. In 1982, when the National Craft Curriculum Certification Board (NCCCB) was established, CERT began carrying out their own examinations. This allowed Irish catering education to set its own standards, establish its own criteria and award its own certificates, roles which were previously carried out by City & Guilds of London (Corr). CERT awarded its first certificates in professional cookery in 1989. The training role of CERT was taken over by Fáilte Ireland, the State tourism board, in 2003. Changing Trends in Cookery and Culinary Textbooks at DIT The Dublin College of Catering which became part of the Dublin Institute of Technology (DIT) is the flagship of catering education in Ireland (Mac Con Iomaire “The Changing”). The first DIT culinary award, was introduced in 1984 Certificate in Diet Cookery, later renamed Higher Certificate in Health and Nutrition for the Culinary Arts. On the 19th of July 1992 the Dublin Institute of Technology Act was enacted into law. This Act enabled DIT to provide vocational and technical education and training for the economic, technological, scientific, commercial, industrial, social and cultural development of the State (Ireland 1992). In 1998, DIT was granted degree awarding powers by the Irish state, enabling it to make major awards at Higher Certificate, Ordinary Bachelor Degree, Honors Bachelor Degree, Masters and PhD levels (Levels six to ten in the National Framework of Qualifications), as well as a range of minor, special purpose and supplemental awards (National NQAI). It was not until 1999, when a primary degree in Culinary Arts was sanctioned by the Department of Education in Ireland (Duff, The Story), that a more diverse range of textbooks was recommended based on a new liberal/vocational educational philosophy. DITs School of Culinary Arts currently offers: Higher Certificates Health and Nutrition for the Culinary Arts; Higher Certificate in Culinary Arts (Professional Culinary Practice); BSc (Ord) in Baking and Pastry Arts Management; BA (Hons) in Culinary Arts; BSc (Hons) Bar Management and Entrepreneurship; BSc (Hons) in Culinary Entrepreneurship; and, MSc in Culinary Innovation and Food Product Development. From 1942 to 1970, haute cuisine, or classical French cuisine was the most influential cooking trend in Irish cuisine and this is reflected in the culinary textbooks of that era. Haute cuisine has been influenced by many influential writers/chefs such as Francois La Varenne, Antoine Carême, Auguste Escoffier, Ferand Point, Paul Bocuse, Anton Mosiman, Albert and Michel Roux to name but a few. The period from 1947 to 1974 can be viewed as a “golden age” of haute cuisine in Ireland, as more award-winning world-class restaurants traded in Dublin during this period than at any other time in history (Mac Con Iomaire “The Changing”). Hotels and restaurants were run in the Escoffier partie system style which is a system of hierarchy among kitchen staff and areas of the kitchens specialising in cooking particular parts of the menu i.e sauces (saucier), fish (poissonnier), larder (garde manger), vegetable (legumier) and pastry (patissier). In the late 1960s, Escoffier-styled restaurants were considered overstaffed and were no longer financially viable. Restaurants began to be run by chef-proprietors, using plate rather than silver service. Nouvelle cuisine began in the 1970s and this became a modern form of haute cuisine (Gillespie). The rise in chef-proprietor run restaurants in Ireland reflected the same characteristics of the nouvelle cuisine movement. Culinary textbooks such as Practical Professional Cookery, La Technique, The Complete Guide to Modern Cooking, The Art of the Garde Mange and Patisserie interpreted nouvelle cuisine techniques and plated dishes. In 1977, the DIT began delivering courses in City & Guilds Advanced Kitchen & Larder 706/3 and Pastry 706/3, the only college in Ireland to do so at the time. Many graduates from these courses became the future Irish culinary lecturers, chef-proprietors, and culinary leaders. The next two decades saw a rise in fusion cooking, nouvelle cuisine, and a return to French classical cooking. Numerous Irish chefs were returning to Ireland having worked with Michelin starred chefs and opening new restaurants in the vein of classical French cooking, such as Kevin Thornton (Wine Epergne & Thorntons). These chefs were, in turn, influencing culinary training in DIT with a return to classical French cooking. New Classical French culinary textbooks such as New Classical Cuisine, The Modern Patisserie, The French Professional Pastry Series and Advanced Practical Cookery were being used in DIT In the last 15 years, science in cooking has become the current trend in culinary education in DIT. This is acknowledged by the increased number of culinary science textbooks and modules in molecular gastronomy offered in DIT. This also coincided with the launch of the BA (Hons) in Culinary Arts in DIT moving culinary education from a technical to a liberal education. Books such as The Science of Cooking, On Food and Cooking, The Fat Duck Cookbook and Modern Gastronomy now appear on recommended textbooks for culinary students.For the purpose of this article, practical classes held at DIT will be broken down as follows: hot kitchen class, larder classes, and pastry classes. These classes had recommended textbooks for each area. These can be broken down into three sections: hot kitche, larder, and pastry. This table identifies that the textbooks used in culinary education at DIT reflected the trends in cookery at the time they were being used. Hot Kitchen Larder Pastry Le Guide Culinaire. 1921. Le Guide Culinaire. 1921. The International Confectioner. 1968. Le Repertoire De La Cuisine. 1914. The Larder Chef, Classical Food Preparation and Presentation. 1969. Patisserie. 1971. All in the Cooking, Books 1&2. 1943 The Art of the Garde Manger. 1973. The Modern Patissier. 1986 Larousse Gastronomique. 1961. New Classic Cuisine. 1989. Professional French Pastry Series. 1987. Practical Cookery. 1962. The Curious Cook. 1990. Complete Pastrywork Techniques. 1991. Practical Professional Cookery. 1972. On Food and Cooking. The Science and Lore of the Kitchen. 1991. On Food and Cooking: The Science and Lore of the Kitchen. 1991 La Technique. 1976. Advanced Practical Cookery. 1995. Desserts: A Lifelong Passion. 1994. Escoffier: The Complete Guide to the Art of Modern Cookery. 1979. The Science of Cooking. 2000. Culinary Artistry. Dornenburg, 1996. Professional Cookery: The Process Approach. 1985. Garde Manger, The Art and Craft of the Cold Kitchen. 2004. Grande Finales: The Art of the Plated Dessert. 1997. On Food and Cooking: The Science and Lore of the Kitchen. 1991. The Science of Cooking. 2000. Fat Duck Cookbook. 2009. Modern Gastronomy. 2010. Tab.1. DIT Culinary Textbooks.1942–1960 During the first half of the 20th century, senior staff working in Dublin hotels, restaurants and clubs were predominately foreign born and trained. The two decades following World War II could be viewed as the “golden age” of haute cuisine in Dublin as many award-wining restaurants traded in the city at this time (Mac Con Iomaire “The Emergence”). Culinary education in DIT in 1942 saw the use of Escoffier’s Le Guide Culinaire as the defining textbook (Bowe). This was first published in 1903 and translated into English in 1907. In 1979 Cracknell and Kaufmann published a more comprehensive and update edited version under the title The Complete Guide to the Art of Modern Cookery by Escoffier for use in culinary colleges. This demonstrated that Escoffier’s work had withstood the test of the decades and was still relevant. Le Repertoire de La Cuisine by Louis Saulnier, a student of Escoffier, presented the fundamentals of French classical cookery. Le Repertoire was inspired by the work of Escoffier and contains thousands of classical recipes presented in a brief format that can be clearly understood by chefs and cooks. Le Repertoire remains an important part of any DIT culinary student’s textbook list. All in the Cooking by Josephine Marnell, Nora Breathnach, Ann Mairtin and Mor Murnaghan (1946) was one of the first cookbooks to be published in Ireland (Cashmann). This book was a domestic science cooking book written by lecturers in the Cathal Brugha Street College. There is a combination of classical French recipes and Irish recipes throughout the book. 1960s It was not until the 1960s that reference book Larousse Gastronomique and new textbooks such as Practical Cookery, The Larder Chef and International Confectionary made their way into DIT culinary education. These books still focused on classical French cooking but used lighter sauces and reflected more modern cooking equipment and techniques. Also, this period was the first time that specific books for larder and pastry work were introduced into the DIT culinary education system (Bowe). Larousse Gastronomique, which used Le Guide Culinaire as a basis (James), was first published in 1938 and translated into English in 1961. Practical Cookery, which is still used in DIT culinary education, is now in its 12th edition. Each edition has built on the previous, however, there is now criticism that some of the content is dated (Richards). Practical Cookery has established itself as a key textbook in culinary education both in Ireland and England. Practical Cookery recipes were laid out in easy to follow steps and food commodities were discussed briefly. The Larder Chef was first published in 1969 and is currently in its 4th edition. This book focuses on classical French larder techniques, butchery and fishmongery but recognises current trends and fashions in food presentation. The International Confectioner is no longer in print but is still used as a reference for basic recipes in pastry classes (Campbell). The Modern Patissier demonstrated more updated techniques and methods than were used in The International Confectioner. The Modern Patissier is still used as a reference book in DIT. 1970s The 1970s saw the decline in haute cuisine in Ireland, as it was in the process of being replaced by nouvelle cuisine. Irish chefs were being influenced by the works of chefs such as Paul Boucuse, Roger Verge, Michel Guerard, Raymond Olivier, Jean & Pierre Troisgros, Alain Senderens, Jacques Maniere, Jean Delaveine and Michel Guerard who advanced the uncomplicated natural presentation in food. Henri Gault claims that it was his manifesto published in October 1973 in Gault-Millau magazine which unleashed the movement called La Nouvelle Cuisine Française (Gault). In nouvelle cuisine, dishes in Carème and Escoffier’s style were rejected as over-rich and complicated. The principles underpinning this new movement focused on the freshness of ingredients, and lightness and harmony in all components and accompaniments, as well as basic and simple cooking methods and types of presentation. This was not, however, a complete overthrowing of the past, but a moving forward in the long-term process of cuisine development, utilising the very best from each evolution (Cousins). Books such as Practical Professional Cookery, The Art of the Garde Manger and Patisserie reflected this new lighter approach to cookery. Patisserie was first published in 1971, is now in its second edition, and continues to be used in DIT culinary education. This book became an essential textbook in pastrywork, and covers the entire syllabus of City & Guilds and CERT (now Fáilte Ireland). Patisserie covered all basic pastry recipes and techniques, while the second edition (in 1993) included new modern recipes, modern pastry equipment, commodities, and food hygiene regulations reflecting the changing catering environment. The Art of the Garde Manger is an American book highlighting the artistry, creativity, and cooking sensitivity need to be a successful Garde Manger (the larder chef who prepares cold preparation in a partie system kitchen). It reflected the dynamic changes occurring in the culinary world but recognised the importance of understanding basic French culinary principles. It is no longer used in DIT culinary education. La Technique is a guide to classical French preparation (Escoffier’s methods and techniques) using detailed pictures and notes. This book remains a very useful guide and reference for culinary students. Practical Professional Cookery also became an important textbook as it was written with the student and chef/lecturer in mind, as it provides a wider range of recipes and detailed information to assist in understanding the tasks at hand. It is based on classical French cooking and compliments Practical Cookery as a textbook, however, its recipes are for ten portions as opposed to four portions in Practical Cookery. Again this book was written with the City & Guilds examinations in mind. 1980s During the mid-1980s, many young Irish chefs and waiters emigrated. They returned in the late-1980s and early-1990s having gained vast experience of nouvelle and fusion cuisine in London, Paris, New York, California and elsewhere (Mac Con Iomaire, “The Changing”). These energetic, well-trained professionals began opening chef-proprietor restaurants around Dublin, providing invaluable training and positions for up-and-coming young chefs, waiters and culinary college graduates. The 1980s saw a return to French classical cookery textbook such as Professional Cookery: The Process Approach, New Classic Cuisine and the Professional French Pastry series, because educators saw the need for students to learn the basics of French cookery. Professional Cookery: The Process Approach was written by Daniel Stevenson who was, at the time, a senior lecturer in Food and Beverage Operations at Oxford Polytechnic in England. Again, this book was written for students with an emphasis on the cookery techniques and the practices of professional cookery. The Complete Guide to Modern Cooking by Escoffier continued to be used. This book is used by cooks and chefs as a reference for ingredients in dishes rather than a recipe book, as it does not go into detail in the methods as it is assumed the cook/chef would have the required experience to know the method of production. Le Guide Culinaire was only used on advanced City & Guilds courses in DIT during this decade (Bowe). New Classic Cuisine by the classically French trained chefs, Albert and Michel Roux (Gayot), is a classical French cuisine cookbook used as a reference by DIT culinary educators at the time because of the influence the Roux brothers were having over the English fine dining scene. The Professional French Pastry Series is a range of four volumes of pastry books: Vol. 1 Doughs, Batters and Meringues; Vol. 2 Creams, Confections and Finished Desserts; Vol. 3 Petit Four, Chocolate, Frozen Desserts and Sugar Work; and Vol. 4 Decorations, Borders and Letters, Marzipan, Modern Desserts. These books about classical French pastry making were used on the advanced pastry courses at DIT as learners needed a basic knowledge of pastry making to use them. 1990s Ireland in the late 1990s became a very prosperous and thriving European nation; the phenomena that became known as the “celtic tiger” was in full swing (Mac Con Iomaire “The Changing”). The Irish dining public were being treated to a resurgence of traditional Irish cuisine using fresh wholesome food (Hughes). The Irish population was considered more well-educated and well travelled than previous generations and culinary students were now becoming interested in the science of cooking. In 1996, the BA (Hons) in Culinary Arts program at DIT was first mooted (Hegarty). Finally, in 1999, a primary degree in Culinary Arts was sanctioned by the Department of Education underpinned by a new liberal/vocational philosophy in education (Duff). Teaching culinary arts in the past had been through a vocational education focus whereby students were taught skills for industry which were narrow, restrictive, and constraining, without the necessary knowledge to articulate the acquired skill. The reading list for culinary students reflected this new liberal education in culinary arts as Harold McGee’s books The Curious Cook and On Food and Cooking: The Science and Lore of the Kitchen explored and explained the science of cooking. On Food and Cooking: The Science and Lore of the Kitchen proposed that “science can make cooking more interesting by connecting it with the basic workings of the natural world” (Vega 373). Advanced Practical Cookery was written for City & Guilds students. In DIT this book was used by advanced culinary students sitting Fáilte Ireland examinations, and the second year of the new BA (Hons) in Culinary Arts. Culinary Artistry encouraged chefs to explore the creative process of culinary composition as it explored the intersection of food, imagination, and taste (Dornenburg). This book encouraged chefs to develop their own style of cuisine using fresh seasonal ingredients, and was used for advanced students but is no longer a set text. Chefs were being encouraged to show their artistic traits, and none more so than pastry chefs. Grande Finale: The Art of Plated Desserts encouraged advanced students to identify different “schools” of pastry in relation to the world of art and design. The concept of the recipes used in this book were built on the original spectacular pieces montées created by Antoine Carême. 2000–2013 After nouvelle cuisine, recent developments have included interest in various fusion cuisines, such as Asia-Pacific, and in molecular gastronomy. Molecular gastronomists strive to find perfect recipes using scientific methods of investigation (Blanck). Hervè This experimentation with recipes and his introduction to Nicholos Kurti led them to create a food discipline they called “molecular gastronomy”. In 1998, a number of creative chefs began experimenting with the incorporation of ingredients and techniques normally used in mass food production in order to arrive at previously unattainable culinary creations. This “new cooking” (Vega 373) required a knowledge of chemical reactions and physico-chemical phenomena in relation to food, as well as specialist tools, which were created by these early explorers. It has been suggested that molecular gastronomy is “science-based cooking” (Vega 375) and that this concept refers to conscious application of the principles and tools from food science and other disciplines for the development of new dishes particularly in the context of classical cuisine (Vega). The Science of Cooking assists students in understanding the chemistry and physics of cooking. This book takes traditional French techniques and recipes and refutes some of the claims and methods used in traditional recipes. Garde Manger: The Art and Craft of the Cold Kitchen is used for the advanced larder modules at DIT. This book builds on basic skills in the Larder Chef book. Molecular gastronomy as a subject area was developed in 2009 in DIT, the first of its kind in Ireland. The Fat Duck Cookbook and Modern Gastronomy underpin the theoretical aspects of the module. This module is taught to 4th year BA (Hons) in Culinary Arts students who already have three years experience in culinary education and the culinary industry, and also to MSc Culinary Innovation and Food Product Development students. Conclusion Escoffier, the master of French classical cuisine, still influences culinary textbooks to this day. His basic approach to cooking is considered essential to teaching culinary students, allowing them to embrace the core skills and competencies required to work in the professional environment. Teaching of culinary arts at DIT has moved vocational education to a more liberal basis, and it is imperative that the chosen textbooks reflect this development. This liberal education gives the students a broader understanding of cooking, hospitality management, food science, gastronomy, health and safety, oenology, and food product development. To date there is no practical culinary textbook written specifically for Irish culinary education, particularly within this new liberal/vocational paradigm. There is clearly a need for a new textbook which combines the best of Escoffier’s classical French techniques with the more modern molecular gastronomy techniques popularised by Ferran Adria. References Adria, Ferran. Modern Gastronomy A to Z: A Scientific and Gastronomic Lexicon. London: CRC P, 2010. Barker, William. The Modern Patissier. London: Hutchinson, 1974. Barham, Peter. The Science of Cooking. Berlin: Springer-Verlag, 2000. Bilheux, Roland, Alain Escoffier, Daniel Herve, and Jean-Maire Pouradier. Special and Decorative Breads. New York: Van Nostrand Reinhold, 1987. Blanck, J. "Molecular Gastronomy: Overview of a Controversial Food Science Discipline." Journal of Agricultural and Food Information 8.3 (2007): 77-85. Blumenthal, Heston. The Fat Duck Cookbook. London: Bloomsbury, 2001. Bode, Willi, and M.J. Leto. The Larder Chef. Oxford: Butter-Heinemann, 1969. Bowe, James. Personal Communication with Author. Dublin. 7 Apr. 2013. Boyle, Tish, and Timothy Moriarty. Grand Finales, The Art of the Plated Dessert. New York: John Wiley, 1997. Campbell, Anthony. Personal Communication with Author. Dublin, 10 Apr. 2013. Cashman, Dorothy. "An Exploratory Study of Irish Cookbooks." Unpublished M.Sc Thesis. Dublin: Dublin Institute of Technology, 2009. Ceserani, Victor, Ronald Kinton, and David Foskett. Practical Cookery. London: Hodder & Stoughton Educational, 1962. Ceserani, Victor, and David Foskett. Advanced Practical Cookery. London: Hodder & Stoughton Educational, 1995. Corr, Frank. Hotels in Ireland. Dublin: Jemma, 1987. Cousins, John, Kevin Gorman, and Marc Stierand. "Molecular Gastronomy: Cuisine Innovation or Modern Day Alchemy?" International Journal of Hospitality Management 22.3 (2009): 399–415. Cracknell, Harry Louis, and Ronald Kaufmann. Practical Professional Cookery. London: MacMillan, 1972. Cracknell, Harry Louis, and Ronald Kaufmann. Escoffier: The Complete Guide to the Art of Modern Cookery. New York: John Wiley, 1979. Dornenburg, Andrew, and Karen Page. Culinary Artistry. New York: John Wiley, 1996. Duff, Tom, Joseph Hegarty, and Matt Hussey. The Story of the Dublin Institute of Technology. Dublin: Blackhall, 2000. Escoffier, Auguste. Le Guide Culinaire. France: Flammarion, 1921. Escoffier, Auguste. The Complete Guide to the Art of Modern Cookery. Ed. Crachnell, Harry, and Ronald Kaufmann. New York: John Wiley, 1986. Gault, Henri. Nouvelle Cuisine, Cooks and Other People: Proceedings of the Oxford Symposium on Food and Cookery 1995. Devon: Prospect, 1996. 123-7. Gayot, Andre, and Mary, Evans. "The Best of London." Gault Millau (1996): 379. Gillespie, Cailein. "Gastrosophy and Nouvelle Cuisine: Entrepreneurial Fashion and Fiction." British Food Journal 96.10 (1994): 19-23. Gisslen, Wayne. Professional Cooking. Hoboken: John Wiley, 2011. Hanneman, Leonard. Patisserie. Oxford: Butterworth-Heinemann, 1971. Hegarty, Joseph. Standing the Heat. New York: Haworth P, 2004. Hsu, Kathy. "Global Tourism Higher Education Past, Present and Future." Journal of Teaching in Travel and Tourism 5.1/2/3 (2006): 251-267 Hughes, Mairtin. Ireland. Victoria: Lonely Planet, 2000. Ireland. Irish Statute Book: Dublin Institute of Technology Act 1992. Dublin: Stationery Office, 1992. James, Ken. Escoffier: The King of Chefs. Hambledon: Cambridge UP, 2002. Lawson, John, and Harold, Silver. Social History of Education in England. London: Methuen, 1973. Lehmann, Gilly. "English Cookery Books in the 18th Century." The Oxford Companion to Food. Oxford: Oxford UP, 1999. 227-9. Marnell, Josephine, Nora Breathnach, Ann Martin, and Mor Murnaghan. All in the Cooking Book 1 & 2. Dublin: Educational Company of Ireland, 1946. Mac Con Iomaire, Máirtín. "The Changing Geography and Fortunes of Dublin's Haute Cuisine Restaurants, 1958-2008." Food, Culture and Society: An International Journal of Multidisiplinary Research 14.4 (2011): 525-45. ---. "Chef Liam Kavanagh (1926-2011)." Gastronomica: The Journal of Food and Culture 12.2 (2012): 4-6. ---. "The Emergence, Development and Influence of French Haute Cuisine on Public Dining in Dublin Restaurants 1900-2000: An Oral History". PhD. Thesis. Dublin: Dublin Institute of Technology, 2009. McGee, Harold. The Curious Cook: More Kitchen Science and Lore. New York: Hungry Minds, 1990. ---. On Food and Cooking the Science and Lore of the Kitchen. London: Harper Collins, 1991. Montague, Prosper. Larousse Gastronomique. New York: Crown, 1961. National Qualification Authority of Ireland. "Review by the National Qualifications Authority of Ireland (NQAI) of the Effectiveness of the Quality Assurance Procedures of the Dublin Institute of Technology." 2010. 18 Feb. 2012 ‹http://www.dit.ie/media/documents/services/qualityassurance/terms_of_ref.doc› Nicolello, Ildo. Complete Pastrywork Techniques. London: Hodder & Stoughton, 1991. Pepin, Jacques. La Technique. New York: Black Dog & Leventhal, 1976. Richards, Peter. "Practical Cookery." 9th Ed. Caterer and Hotelkeeper (2001). 18 Feb. 2012 ‹http://www.catererandhotelkeeper.co.uk/Articles/30/7/2001/31923/practical-cookery-ninth-edition-victor-ceserani-ronald-kinton-and-david-foskett.htm›. Roux, Albert, and Michel Roux. New Classic Cuisine. New York: Little, Brown, 1989. Roux, Michel. Desserts: A Lifelong Passion. London: Conran Octopus, 1994. Saulnier, Louis. Le Repertoire De La Cuisine. London: Leon Jaeggi, 1914. Sonnenschmidt, Fredric, and John Nicholas. The Art of the Garde Manger. New York: Van Nostrand Reinhold, 1973. Spang, Rebecca. The Invention of the Restaurant: Paris and Modern Gastronomic Culture. Cambridge: Harvard UP, 2000. Stevenson, Daniel. Professional Cookery the Process Approach. London: Hutchinson, 1985. The Culinary Institute of America. Garde Manger: The Art and Craft of the Cold Kitchen. Hoboken: New Jersey, 2004. Vega, Cesar, and Job, Ubbink. "Molecular Gastronomy: A Food Fad or Science Supporting Innovation Cuisine?". Trends in Food Science & Technology 19 (2008): 372-82. Wilfred, Fance, and Michael Small. The New International Confectioner: Confectionary, Cakes, Pastries, Desserts, Ices and Savouries. 1968.

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The compulsion to work has clearly become pathological in modern industrial societies. Millions of people are working long hours, devoting their lives to making or doing things that will not enrich their lives or make them happier but will add to the garbage and pollution that the earth is finding difficult to accommodate. They are so busy doing this that they have little time to spend with their family and friends, to develop other aspects of themselves, to participate in their communities as full citizens. Unless the work/consume treadmill is overcome there is little hope for the planet. The work ethic, and the corresponding respect accorded to those who accumulate wealth, are socially constructed but rapidly becoming dysfunctional for social and environmental welfare. Much has been written about the role of Protestant preachers in the rise of the work ethic but the continued reinforcement of a secular work ethic owes much to literature, particularly self-help books and children's literature of the nineteenth century, which promoted work as a route to success and a sign of good character. In the centuries following the Protestant reformation the emphasis on work as a religious calling was gradually superseded by a materialistic quest for social mobility and material success. This success-oriented work ethic encouraged ambition, hard work, self-reliance, and self-discipline and held out the promise that such effort would be materially rewarded. Through example and reiteration, the myth that any man, no matter what his origins, could become rich if he tried hard enough became firmly established. The self-made man owed his advancement to habits of industry, sobriety, moderation, self-discipline, and avoidance of debt (Beder). In early America the middle classes "controlled the major institutions of social influence" the schools, churches, factories, political offices and publishing companies and used them to propagate work values (Cherrington 32-3). Their children learned the value of hard work from their parents and this was reinforced by school teachers, classroom readers and popular books. Benjamin Franklin was one of the best-known early propagators of work values. Poor Richard and Franklin's autobiography sold millions of copies at the time and was translated into many languages for sale abroad. In his books he urged thrift, industry, pursuit of money and hard work. "Newspapers, books, interviews, speeches, and literature abounded with praise of the successful who had made it on their own" (Bernstein 141). Success was defined in terms of doing well in business and making lots of money. Owning one's own business was supposed to be a route to success that was open to all, as Abraham Lincoln explained in an 1861 speech to Congress: "The prudent, penniless beginner in the world, labors for wages awhile, saves a surplus with which to buy tools or land for himself, then labors on his own account for awhile, and at length hires another new beginner to help him. This is a just, and generous, and prosperous system; which opens the way to all gives hope to all, and consequent energy and progress, and improvement of conditions to all." (qtd. in Chinoy 4) The earliest textbooks published in America promoted work values as part of good character and the formula to success. These included the Peter Parley books first published by Samuel Goodrich during the 1820s and 30s (Peter Parley was a pseudonym). Goodrich wrote some 150 children's books beginning with Tales of Peter Parley about America. The Parley books covered geography, history, commerce and even mathematics. McGuffey's Eclectic Readers were the standard English textbooks in American schools from 1830s through to 1920s. They were first published in 1836 and became perhaps the most widely read children's books in the 19th century with 122 million copies of the six readers sold to an estimated four fifths of US school children (Cherrington 36). American children learned to read and write using these books, which also taught middle-class values including the work ethic and success through hard work: "Work, work, my boy, be not afraid; Look labor boldly in the face" (qtd. in Bernstein 161). They are again being promoted today by conservative groups in the US (see for example http://www.liberty-tree.org/ltn/mcguffeys-reader.html and http://www.aobs-store.com/reviews/mcguffey.htm). American story books also taught work values. Horatio Alger (1832-99) was one of the most prolific American writers. He wrote some 130 books that taught work values to young boys. Twenty million copies of Alger's books were sold with titles such as Strive and Succeed, Ragged Dick, Mark the Matchboy, Risen from the Ranks, Bound to Rise. They typically told of poor boys who became self-made men through their own efforts and perseverance. In the twentieth century children continued to learn at school about how various successful businessmen had started from humble origins. From the 1940s the American Schools and Colleges Association presented an annual "Horatio Alger Award" to businessmen whose "rise to success symbolizes the tradition of starting from scratch under our system of free competitive enterprise" (Chinoy 1) and there are still a range of Alger associations and awards current today (see for example http://www.ihot.com/~has/ and http://www.horatioalger.com/). Self-help books supplemented fiction in showing the way to success. Books at the turn of the 20th century with names such as The Conquest of Poverty, Pushing to the Front, Success under Difficulty, all preached the message of how any motivated, hard-working individual could overcome life's obstacles. Work as a route to success was also promoted in Britain in books, newspapers and official reports. Workers were urged to work hard towards success, to be independent and raise themselves above their lowly stations in life through saving, striving, and industriousness. Nineteenth century organisations such as the Bettering Society promoted thrift and self-improvement and criticised measures to aid the poor (Roach 69). Samuel Smiles was one of the foremost advocates of "the spirit of self-help". His 1859 book Self-Help argued: "In many walks of life drudgery and toil must be cheerfully endured as the necessary discipline of life... He who allows his application to falter, or shirks his work on frivolous pretexts, is on the sure road to ultimate failure... even men with the commonest brains and the most slender powers will accomplish much..." (qtd. in Ward 22-3) The myth of the self-made man was also evident in popular music hall songs in the 19th century, such as Work Boys Work by Harry Clifton (1824-1872): ...labour leads to wealth and will keep you in good health, so its best to be contented with your lot. Whilst it was true that some of the early English manufacturers started off as workers themselves, they tended to come from the middle classes and as time went by the opportunity for working people to become capitalists were reduced as the income gap between capitalists and workers broadened. In fact the much publicised gospel of improvement and self-help served only to obscure the very limited prospects and achievements of the self-made men within early and later Victorian society, and investigations of the steel and hosiery industries, for instance, have shown how little recruitment occurred from the ranks of the workers to those of the entrepreneurs. (Thomis 86) However, there were enough oft-repeated stories of individuals moving from poverty to wealth to keep alive, at least in the minds of the well-to-do, the idea that hard work could lead from rags-to-riches, despite this not being the case for the vast majority of people who were born in poverty and died in poverty after a life time of hard work (Furnham 198). In this way the affluent were able to feel comfortable about poverty in their midst, blaming it on individual weakness rather than societal failings. In Britain, as in America, the myth of the self-made man persisted in children's literature into the twentieth century. Academic Philip Cohen noted: When I was growing up in the early 1950s it was still possible to get given 'improving books' for one's birthday, consisting of biographies of self-made men, engineers, inventors, industrialists, entrepreneurs, philanthropists and the like. These men, and they were all men, had usually lived in the 'heroic' age of nineteenth-century capitalism and the books themselves were clearly prepared for the edification of the young. (Cohen 61) The contemporary reception by audiences of the texts discussed in this article is unknown. In particular, the degree to which children were able to resist the none too subtle moral lessons contained in their texts and stories is a question requiring empirical research that has yet to be carried out. However, it is evident that the promotion of the work ethic has been a successful enterprise and this article has shown that 19thcentury books played an active part in that. Although not everyone subscribes to the work ethic today, the myth of the self-made man remains a myth in most English speaking countries, even though the disparities between rich and poor are widening and it is becoming more and more difficult for the poor to become rich through talent, effort and opportunities. Despite the dysfunctionality of the work ethic it continues to be promoted and praised, accepted and acquiesced to. It is one of the least challenged aspects of industrial culture. Yet it is based on myths and fallacies which provide legitimacy for gross social inequalities. If we are to protect the planet and our social health we need to find new ways of judging and valuing each other which are not work and income dependent. References Beder, Sharon. Selling the Work Ethic: From puritan pulpit to corporate PR. London: Zed Books, 2000. Bernstein, Paul. American Work Values: Their Origin and Development. Albany, NY: State U of New York P, 1997. Cherrington, David J. The Work Ethic: Working Values and Values that Work. New York: AMACON, 1980. Chinoy, Ely. Automobile Workers and the American Dream. 2nd ed. Urbana and Chicago: U of Illinois P, 1992. Cohen, Philip. "Teaching Enterprise Culture: Individualism, Vocationalism and the New Right." The Social Effects of Free Market Policies: An International Text. Ed. Ian Taylor. New York: Harvester Wheatsheaf, 1990. 49-91. Furnham, Adrian. The Protestant Work Ethic: The Psychology of Work-Related Beliefs and Behaviours. London: Routledge, 1990. Roach, John. Social Reform in England 1780-1880. London: B T. Batsford, 1978. Thomis, Malcolm I. The Town Labourer and the Industrial Revolution. London: B.T.Batsford, 1974. Ward, J. T. The Age of Change 1770-1870. London: A&C Black, 1975. Links http://www.horatioalger.com/ http://www.aobs-store.com/reviews/mcguffey.htm http://www.ihot.com/~has/ http://www.liberty-tree.org/ltn/mcguffeys-reader.html Citation reference for this article MLA Style Beder, Sharon. "The Promotion of a Secular Work Ethic" M/C: A Journal of Media and Culture 4.5 (2001). [your date of access] < http://www.media-culture.org.au/0111/Beder.xml >. Chicago Style Beder, Sharon, "The Promotion of a Secular Work Ethic" M/C: A Journal of Media and Culture 4, no. 5 (2001), < http://www.media-culture.org.au/0111/Beder.xml > ([your date of access]). APA Style Beder, Sharon. (2001) The Promotion of a Secular Work Ethic. M/C: A Journal of Media and Culture 4(5). < http://www.media-culture.org.au/0111/Beder.xml > ([your date of access]).

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Imagine this historical scene, if you will. It is 1892, and you are up in the gallery at Her Majesty’s Theatre in Sydney, taking in an English burlesque. The people around you have just found out that Alice Leamar will not be performing her famed turn in Ta-ra-ra-boom-de-ay tonight, a high-kicking Can-Canesque number, very much the dance du jour. Your fellow audience members are none too pleased about this – they are shouting, and stamping the heels of their boots so loudly the whole theatre resounds with the noise. Most people in the expensive seats below look up in the direction of the gallery with a familiar blend of fear and loathing. The rough ‘gods’ up there are nearly always restless, more this time than usual. The uproar fulfils its purpose, though, because tomorrow night, Leamar’s act will be reinstated: the ‘gods’ will have their way (Bulletin, 1 October 1892). Another scene now, this time at the Newtown Bridge Theatre in Sydney, shortly after the turn of the twentieth century. A comedian is trying a new routine for the crowd, but no one seems much impressed so far. A few discontented rumbles begin at first – ‘I want to go home’, says one wag, and then another – and soon these gain momentum, so that almost everyone is caught up in an ecstasy of roisterous abuse. A burly ‘chucker out’ appears, trying to eject some of the loudest hecklers, and a fully-fledged punch-up ensues (Djubal 19, 23; Cheshire 86). Eventually, one or two men are made to leave – but so too is the hapless comedian, evicted by derisive howls from the stage. The scenes I have just described show that audience interaction was a key feature in late-nineteenth century popular theatre, and in some cases even persisted into the following century. Obviously, there was no formal voting mechanism used during these performances à la contemporary shows like Idol. But rowdy practises amounted to a kind of audience ‘vote’ nonetheless, through which people decided those entertainers they wanted to see and those they emphatically did not. In this paper, I intend to use these bald parallels between Victorian audience practices and new-millennium viewer-voting to investigate claims about the links between democracy and plebiscitary entertainment. The rise of voting for pleasure in televised contests and online polls is widely attended by debate about democracy (e.g. Andrejevic; Coleman; Hartley, “Reality”). The most hyped commentary on this count evokes a teleological assumption – that western history is inexorably moving towards direct democracy. This view becomes hard to sustain when we consider the extent to which the direct expression of audience views was a feature of Victorian popular entertainment, and that these participatory practices were largely suppressed by the turn of the twentieth century. Old audience practices also allow us to question some of the uses of the term ‘direct democracy’ in new media commentary. Descriptions of voting for pleasure as part of a growth towards direct democracy are often made to celebrate rather than investigate plebiscitary forms. They elide the fact that direct democracy is a vexed political ideal. And they limit our discussion of voting for leisure and fun. Ultimately, arguing back and forth about whether viewer-voting is democratic stops us from more interesting explorations of this emerging cultural phenomenon. ‘To a degree that would be unimaginable to theatregoers today’, says historian Robert Allen, ‘early nineteenth-century audiences controlled what went on at the theatre’. The so-called ‘shirt-sleeve’ crowd in the cheapest seats of theatrical venues were habitually given to hissing, shouting, and even throwing objects in order to evict performers during the course of a show. The control exerted by the peanut-chomping gallery was certainly apparent in the mid-century burlesques Allen writes about (55). It was also apparent in minstrel, variety and music hall productions until around the turn of the century. Audience members in the galleries of variety theatres and music halls regularly engaged in the pleasure of voicing their aesthetic preferences. Sometimes comic interjectors from among them even drew more laughs than the performers on stage. ‘We went there not as spectators but as performers’, as an English music-hall habitué put it (Bailey 154). In more downmarket venues such as Sydney’s Newtown Bridge Theatre, these participatory practices continued into the early 1900s. Boisterous audience practices came under sustained attack in the late-Victorian era. A series of measures were taken by authorities, theatre managers and social commentators to wrest the control of popular performances from those in theatre pits and galleries. These included restricting the sale of alcohol in theatre venues, employing brawn in the form of ‘chuckers out’, and darkening auditoriums, so that only the stage was illuminated and the audience thus de-emphasised (Allen 51–61; Bailey 157–68; Waterhouse 127, 138–43). They also included a relentless public critique of those engaging in heckling behaviours, thus displaying their ‘littleness of mind’ (Age, 6 Sep. 1876). The intensity of attacks on rowdy audience participation suggests that symbolic factors were at play in late-Victorian attempts to enforce decorous conduct at the theatre. The last half of the century was, after all, an era of intense debate about the qualities necessary for democratic citizenship. The suffrage was being dramatically expanded during this time, so that it encompassed the vast majority of white men – and by the early twentieth century, many white women as well. In Australia, the prelude to federation also involved debate about the type of democracy to be adopted. Should it be republican? Should it enfranchise all men and women; all people, or only white ones? At stake in these debates were the characteristics and subjectivities one needed to possess before being deemed capable of enfranchisem*nt. To be worthy of the vote, as of other democratic privileges, one needed to be what Toby Miller has called a ‘well-tempered’ subject at the turn of the twentieth century (Miller; Joyce 4). One needed to be carefully deliberative and self-watching, to avoid being ‘savage’, ‘uncivilised’, emotive – all qualities which riotous audience members (like black people and women) were thought not to possess (Lake). This is why the growing respectability of popular theatre is so often considered a key feature of the modernisation of popular culture. Civil and respectful audience behaviours went hand in hand with liberal-democratic concepts of the well-tempered citizen. Working-class culture in late nineteenth-century England has famously (and notoriously) been described as a ‘culture of consolation’: an escapist desire for fun based on a fatalistic acceptance of under-privilege and social discrimination (Jones). This idea does not do justice to the range of hopes and efforts to create a better society among workingpeople at the time. But it still captures the motivation behind most unruly audience behaviours: a gleeful kind of resistance or ‘culture jamming’ which viewed disruption and uproar as ends in themselves, without the hope that they would be productive of improved social conditions. Whether or not theatrical rowdiness served a solely consolatory purpose for the shirt-sleeve crowd, it certainly evoked a sharp fear of disorderly exuberance in mainstream society. Anxieties about violent working-class uprisings leading to the institution of mob rule were a characteristic of the late-nineteenth century, often making their way into fiction (Brantlinger). Roisterous behaviours in popular theatres resonated with the concerns expressed in works such as Caesar’s Column (Donnelly), feeding on a long association between the theatre and misrule. These fears obviously stand in stark contrast to the ebullient commentary surrounding interactive entertainment today. Over-oxygenated rhetoric about the democratic potential of cyberspace was of course a feature of new media commentary at the beginning of the 1990s (for a critique of such rhetoric see Meikle 33–42; Grossman). Current helium-giddy claims about digital technologies as ‘democratising’ reprise this cyberhype (Andrejevic 12–15, 23–8; Jenkins and Thornburn). One recent example of upbeat talk about plebiscitary formats as direct democracy is John Hartley’s contribution to the edited collection, Politicotainment (Hartley, “Reality”). There are now a range of TV shows and online formats, he says, which offer audiences the opportunity to directly express their views. The development of these entertainment forms are part of a movement towards a ‘direct open network’ in global media culture (3). They are also part of a macro historical shift: a movement ‘down the value chain of meaning’ which has taken place over the past few centuries (Hartley, “Value Chain”). Hartley’s notion of a ‘value chain of meaning’ is an application of business analysis to media and cultural studies. In business, a value chain is what links the producer/originator, via commodity/distribution, to the consumer. In the same way, Hartley says, one might speak of a symbolic value chain moving from an author/producer, via the text, to the audience/consumer. Much of western history may indeed be understood as a movement along this chain. In pre-modern times, meaning resided in the author. The Divine Author, God, was regarded as the source of all meaning. In the modern period, ‘after Milton and Johnson’, meaning was located in texts. Experts observed the properties of a text or other object, and by this means discovered its meaning. In ‘the contemporary period’, however – the period roughly following the Second World War – meaning has overwhelming come to be located with audiences or consumers (Hartley, “Value Chain” 131–35). It is in this context, Hartley tells us, that the plebiscite is coming to the fore. As a means of allowing audiences to directly represent their own choices, the plebiscite is part of a new paradigm taking shape, as global culture moves away from the modern epoch and its text-dominated paradigm (Hartley, “Reality” 1–3). Talk of a symbolic value chain is a self-conscious example of the logic of business/cultural partnership currently circulating in neo-liberal discourse. It is also an example of a teleological understanding of history, through which the past few centuries are presented as part of a linear progression towards direct democracy. This teleology works well with the up-tempo talk of television as ‘democratainment’ in Hartley’s earlier work (Hartley, Uses of Television). Western history is essentially a triumphant progression, he implies, from the Dark Ages, to representative democracy, to the enlightened and direct ‘consumer democracy’ unfolding around us today (Hartley, “Reality” 47). Teleological assumptions are always suspect from an historical point of view. For a start, casting the modern period as one in which meaning resided overwhelmingly in the text fails to consider the culture of popular performance flourishing before the twentieth century. Popular theatrical forms were far more significant to ordinary people of the nineteenth century than the notions of empirical or textual analysis cultivated in elite circles. Burlesques, minstrel-shows, music hall and variety productions all took a playful approach to their texts, altering their tone and content in line with audience expectations (Chevalier 40). Before the commercialisation of popular theatre in the late-nineteenth century, many theatricals also worked in a relatively open-ended way. At concert saloons or ‘free-and-easies’ (pubs where musical performances were offered), amateur singers volunteered their services, stepping out from the audience to perform an act or two and then disappearing into it again (Joyce 206). As a precursor to TV talent contests and ‘open mic’ comedy sessions today, many theatrical managers held amateur nights in which would-be professionals tried their luck before a restless crowd, with a contract awarded to performers drawing the loudest applause (Watson 5). Each of these considerations challenge the view that open participatory networks are the expression of an historical process through which meaning has only recently come to reside with audiences and consumers. Another reason for suspecting teleological notions about democracy is that it proceeds as if Foucauldian analysis did not exist. Characterising history as a process of democratisation tends to equate democracy with openness and freedom in an uncritical way. It glosses over the fact that representative democracy involved the repression of directly participatory practices and unruly social groups. More pertinently, it ignores critiques of direct democracy. Even if there are positive aspects to the re-emergence of participatory practices among audiences today, there are still real problems with direct democracy as a political ideal. It would be fairly easy to make the case that rowdy Victorian audiences engaged in ‘direct democratic’ practices during the course of a variety show or burlesque. The ‘gods’ in Victorian galleries exulted in expressing their preferences: evicting lack-lustre comics and demanding more of other performers. It would also be easy to valorise these practices as examples of the kind of culture-jamming I referred to earlier – as forms of resistance to the tyranny of well-tempered citizenship gaining sway at the time. Given the often hysterical attacks directed at unruly audiences, there is an obvious satisfaction to be had from observing the reinstatement of Ta-ra-ra-boom-de-ay at Her Majesty’s Theatre, or in the pleasure that working-class audiences derived from ‘calling the tune’. The same kind of satisfaction is not to be had, however, when observing direct democracy in action on YouTube, or during a season of Dancing with the Stars, or some other kind of plebiscitary TV. The expression of audience preferences in this context hardly carries the subversive connotations of informal evictions during a late-Victorian music-hall show. Viewer-voting today is indeed dominated by a rhetoric of partnership which centres on audience participation, rather than a notion of opposition between producers and audiences (Jenkins). The terrain of plebiscitary entertainment is very different now from the terrain of popular culture described by Stuart Hall in the 1980s – let alone as it stood in the 1890s, during Alice Leamar’s tour. Most commentary on plebiscitary TV avoids talk of ‘cultural struggle’ (Hall 235) and instead adopts a language of collaboration and of people ‘having a ball’ (Neville; Hartley, “Reality” 3). The extent to which contemporary plebiscites are managed by what Hartley calls the ‘plebiscitary industries’ evokes one of the most powerful criticisms made against direct democracy. That is, it evokes the view that direct democracy allows commercial interests to set the terms of public participation in decision-making, and thus to influence its outcomes (Barber 36; Moore 55–56). There is obviously big money to be made from plebiscitary TV. The advertising blitz which takes place during viewer-voting programs, and the vote-rigging scandals so often surrounding them make this clear. These considerations highlight the fact that public involvement in a plebiscitary process is not something to make a song and dance about unless broad involvement first takes place in deciding the issues open for determination by plebiscite, and the way in which these issues are framed. In the absence of this kind of broad participation, engagement in plebiscitary forms serves a solely consolatory function, offering the pleasures of viewer-voting as a substitute for substantive involvement in cultural creation and political change. Another critique sometimes made against direct democracy is that it makes an easy vehicle for prejudice (Barber 36–7). This was certainly the case in Victorian theatres, where it was common for Anglo gallery-members to heckle female and non-white performers in an intimidatory way. A group of American vaudeville performers called the Cherry Sisters certainly experienced this phenomenon in the early 1900s. The Cherry Sisters were defiantly unglamorous middle-aged women in a period when female performers were increasingly expected to display scantily-clad youthful figures on stage. As a consequence, they were embroiled in a number of near-riots in which male audience members hurled abuse and heavy objects from the galleries, and in some cases chased them into the street to physically assault them there (Pittinger 76–77). Such incidents give us a glimpse of the dark face of direct democracy. In some cases, the direct expression of popular views becomes an attack on diversity, leading to the kind of violent mêlée experienced either by the Cherry Sisters or the Middle Eastern people attacked on Sydney’s Cronulla Beach at the end of 2005. ‘Democracy’ is always an obviously politically loaded term when used in debates about new media. It is frequently used to imply that particular cultural or technological forms are inherently liberatory and inclusive. As Graeme Turner points out, reality TV has been celebrated as ‘democratic’ in this way. Only rarely, however, is there an attempt to argue why this is the case – to show how viewer-voting formats actually serve a democratic agenda. It was for this reason that Turner argued that the inclusion of ordinary people on reality TV should be understood as demotic rather than democratic (Turner, Understanding Celebrity 82–5; Turner, “Mass Production”). Ultimately, however, it is immaterial whether one uses the term ‘demotic’ or ‘direct democratic’ to describe the growth of plebiscitary entertainment. What is important is that we avoid making inflated claims about the direct expression of audience views, using the term ‘democratic’ to give an unduly celebratory spin to the political complexities involved. People may indeed be having a ball as they take part in online polls or choose what they want to watch on YouTube or shout at the TV during an episode of Idol. The ‘participatory enthusiasm’ that fans feel watching a show like Big Brother may also have lessons for those interested in making parliamentary process more responsive to people’s interests and needs (Coleman 458). But the development of plebiscitary forms is not inherently democratic in the sense that Turner suggests the term should be used – that is, it does not of itself serve a liberatory or socially inclusive agenda. Nor does it lead to substantive participation in cultural and political processes. In the end, it seems to me that we need to move beyond the discussion of plebiscitary entertainment in terms of democracy. The whole concept of democracy as the yardstick against which new media should be measured is highly problematic. Not only is direct democracy a vexed political ideal to start off with – it also leads commentators to take predictable positions when debating its relationship to new technologies and cultural forms. Some turn to hype, others to critique, and the result often appears as a mere restatement of the commentators’ political inclinations rather than a useful investigation of the developments at hand. Some of the most intriguing aspects of plebiscitary entertainments are left unexplored if we remain preoccupied with democracy. One might well investigate the re-introduction of studio audiences and participatory audience practices, for example, as a nostalgia for the interactivity experienced in live theatres such as the Newtown Bridge in the early twentieth century. It certainly seems to me that a retro impulse informs some of the developments in televised stand-up comedy in recent years. This was obviously the case for Paul McDermott’s The Side Show on Australian television in 2007, with its nod to the late-Victorian or early twentieth-century fairground and its live-theatrical vibe. More relevantly here, it also seems to be the case for American viewer-voting programs such as Last Comic Standing and the Comedy Channel’s Open Mic Fight. Further, reviews of programs such as Idol sometimes emphasise the emotional engagement arising out of their combination of viewer-voting and live performance as a harking-back to the good old days when entertainment was about being real (Neville). One misses this nostalgia associated with plebiscitary entertainments if bound to a teleological assumption that they form part of an ineluctable progression towards the New and the Free. Perhaps, then, it is time to pay more attention to the historical roots of viewer-voting formats, to think about the way that new media is sometimes about a re-invention of the old, trying to escape the recurrent back-and-forthing of debate about their relationship to progress and democracy. References Allen, Robert C. Horrible Prettiness: Burlesque and American Culture .Chapel Hill: University of North Carolina Press, 1991. Andrejevic, Mark. Reality TV: The Work of Being Watched. Lanham, Maryland: Rowman and Littlefield Publishers, 2004. Bailey, Peter. Leisure and Class in Victorian England: Rational Recreation and the Contest for Control, 1830–1885. London: Routledge and Kegan Paul, 1978. Barber, Benjamin R. Strong Democracy: Participatory Politics for a New Age. Berkeley: University of California Press, 1984. ———. “Which Technology and Which Democracy?” Democracy and New Media. Eds. Henry Jenkins and David Thorburn. Cambridge, Massachusetts: MIT Press, 2003. 33–48. Brantlinger, Patrick, Rule of Darkness: British Literature and Imperialism, 1830–1914. Ithaca, New York: Cornell University Press, 1988. Cheshire, D. F. Music Hall in Britain. Rutherford: Fairleigh Dickinson University Press, 1974. Chevalier, Albert. Before I Forget: The Autobiography of a Chevalier d’Industrie. London: T. Fisher Unwin, 1901. Coleman, Stephen. “How the Other Half Votes: Big Brother Viewers and the 2005 General Election”. International Journal of Cultural Studies 9.4 (2006): 457–79. Djubal, Clay. “From Minstrel Tenor to Vaudeville Showman: Harry Clay, ‘A Friend of the Australian Performer’”. Australasian Drama Studies 34 (April 1999): 10–24. Donnelly, Ignatius. Caesar’s Column: A Story of the Twentieth Century. London: Sampson Low, Marston and Co., 1891. Grossman, Lawrence. The Electronic Republic: Reshaping Democracy in the Information Age. New York: Penguin, 1995. Hall, Stuart. “Notes on Deconstructing the ‘Popular’”. People’s History and Socialist Theory. Ed. Raphael Samuel. London: Routledge and Kegan Paul, 1981. 227–49. Hartley, John, The Uses of Television. London: Routledge, 1999. ———. “‘Reality’ and the Plebiscite”. Politoctainment: Television’s Take on the Real. Ed. Kristina Riegert. New York: Peter Lang Publishing, 2006. http://www.cci.edu.au/hartley/downloads/Plebiscite%20(Riegert%20chapter) %20revised%20FINAL%20%5BFeb%2014%5D.pdf. ———. “The ‘Value-Chain of Meaning’ and the New Economy”. International Journal of Cultural Studies 7.1 (2004): 129–41. Jenkins, Henry. “The Cultural Logic of Media Convergence”. International Journal of Cultural Studies 7.1 (2004): 33–43. ———, and David Thornburn. “Introduction: The Digital Revolution, the Informed Citizen, and the Culture of Democracy”. Democracy and New Media. Eds. Henry Jenkins and David Thorburn. Cambridge, Mass.: MIT Press, 2003. 1–20. Jones, Gareth Stedman. ‘Working-Class Culture and Working-Class Politics in London, 1870-1900: Notes on the Remaking of a Working Class’. Languages of Class: Studies in English Working-Class History, 1832–1982. Cambridge: Cambridge University Press, 1983. 179–238. Joyce, Patrick. The Rule of Freedom: Liberalism and the Modern City. London: Verso, 2003. Lake, Marilyn. “White Man’s Country: The Trans-National History of a National Project”. Australian Historical Studies 122 ( 2003): 346–63. Meikle, Graham. Future Active: Media Activism and the Internet. London: Routledge, 2002. Miller, Toby. The Well-Tempered Self: Citizenship, Culture and the Postmodern Subject. Baltimore: Johns Hopkins Press, 1993. Moore, Richard K. “Democracy and Cyberspace”. Digital Democracy: Discourse and Decision Making in the Information Age. Eds. Barry Hague and Brian D. Loader. London and New York: Routledge, 1999. 39–59. Neville, Richard. “Crass, Corny, But Still a Woodstock Moment for a New Generation”. Sydney Morning Herald, 23 November 2004. Pittinger, Peach R. “The Cherry Sisters in Early Vaudeville: Performing a Failed Femininity”. Theatre History Studies 24 (2004): 73–97. Turner, Graeme. Understanding Celebrity. London: Sage, 2004. ———. “The Mass Production of Celebrity: ‘Celetoids’, Reality TV and the ‘Demotic Turn’”. International Journal of Cultural Studies 9.2 (2006): 153–165. Waterhouse, Richard. From Minstrel Show to Vaudeville: The Australian Popular Stage, 1788–1914. Sydney: New South Wales University Press, 1990. Watson, Bobby. Fifty Years Behind the Scenes. Sydney: Slater, 1924. Citation reference for this article MLA Style Bellanta, Melissa. "Voting for Pleasure, Or a View from a Victorian Theatre Gallery." M/C Journal 10.6/11.1 (2008). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0804/02-bellanta.php>. APA Style Bellanta, M. (Apr. 2008) "Voting for Pleasure, Or a View from a Victorian Theatre Gallery," M/C Journal, 10(6)/11(1). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0804/02-bellanta.php>.

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Imagine this historical scene, if you will. It is 1892, and you are up in the gallery at Her Majesty’s Theatre in Sydney, taking in an English burlesque. The people around you have just found out that Alice Leamar will not be performing her famed turn in Ta-ra-ra-boom-de-ay tonight, a high-kicking Can-Canesque number, very much the dance du jour. Your fellow audience members are none too pleased about this – they are shouting, and stamping the heels of their boots so loudly the whole theatre resounds with the noise. Most people in the expensive seats below look up in the direction of the gallery with a familiar blend of fear and loathing. The rough ‘gods’ up there are nearly always restless, more this time than usual. The uproar fulfils its purpose, though, because tomorrow night, Leamar’s act will be reinstated: the ‘gods’ will have their way (Bulletin, 1 October 1892). Another scene now, this time at the Newtown Bridge Theatre in Sydney, shortly after the turn of the twentieth century. A comedian is trying a new routine for the crowd, but no one seems much impressed so far. A few discontented rumbles begin at first – ‘I want to go home’, says one wag, and then another – and soon these gain momentum, so that almost everyone is caught up in an ecstasy of roisterous abuse. A burly ‘chucker out’ appears, trying to eject some of the loudest hecklers, and a fully-fledged punch-up ensues (Djubal 19, 23; Cheshire 86). Eventually, one or two men are made to leave – but so too is the hapless comedian, evicted by derisive howls from the stage. The scenes I have just described show that audience interaction was a key feature in late-nineteenth century popular theatre, and in some cases even persisted into the following century. Obviously, there was no formal voting mechanism used during these performances à la contemporary shows like Idol. But rowdy practises amounted to a kind of audience ‘vote’ nonetheless, through which people decided those entertainers they wanted to see and those they emphatically did not. In this paper, I intend to use these bald parallels between Victorian audience practices and new-millennium viewer-voting to investigate claims about the links between democracy and plebiscitary entertainment. The rise of voting for pleasure in televised contests and online polls is widely attended by debate about democracy (e.g. Andrejevic; Coleman; Hartley, “Reality”). The most hyped commentary on this count evokes a teleological assumption – that western history is inexorably moving towards direct democracy. This view becomes hard to sustain when we consider the extent to which the direct expression of audience views was a feature of Victorian popular entertainment, and that these participatory practices were largely suppressed by the turn of the twentieth century. Old audience practices also allow us to question some of the uses of the term ‘direct democracy’ in new media commentary. Descriptions of voting for pleasure as part of a growth towards direct democracy are often made to celebrate rather than investigate plebiscitary forms. They elide the fact that direct democracy is a vexed political ideal. And they limit our discussion of voting for leisure and fun. Ultimately, arguing back and forth about whether viewer-voting is democratic stops us from more interesting explorations of this emerging cultural phenomenon. ‘To a degree that would be unimaginable to theatregoers today’, says historian Robert Allen, ‘early nineteenth-century audiences controlled what went on at the theatre’. The so-called ‘shirt-sleeve’ crowd in the cheapest seats of theatrical venues were habitually given to hissing, shouting, and even throwing objects in order to evict performers during the course of a show. The control exerted by the peanut-chomping gallery was certainly apparent in the mid-century burlesques Allen writes about (55). It was also apparent in minstrel, variety and music hall productions until around the turn of the century. Audience members in the galleries of variety theatres and music halls regularly engaged in the pleasure of voicing their aesthetic preferences. Sometimes comic interjectors from among them even drew more laughs than the performers on stage. ‘We went there not as spectators but as performers’, as an English music-hall habitué put it (Bailey 154). In more downmarket venues such as Sydney’s Newtown Bridge Theatre, these participatory practices continued into the early 1900s. Boisterous audience practices came under sustained attack in the late-Victorian era. A series of measures were taken by authorities, theatre managers and social commentators to wrest the control of popular performances from those in theatre pits and galleries. These included restricting the sale of alcohol in theatre venues, employing brawn in the form of ‘chuckers out’, and darkening auditoriums, so that only the stage was illuminated and the audience thus de-emphasised (Allen 51–61; Bailey 157–68; Waterhouse 127, 138–43). They also included a relentless public critique of those engaging in heckling behaviours, thus displaying their ‘littleness of mind’ (Age, 6 Sep. 1876). The intensity of attacks on rowdy audience participation suggests that symbolic factors were at play in late-Victorian attempts to enforce decorous conduct at the theatre. The last half of the century was, after all, an era of intense debate about the qualities necessary for democratic citizenship. The suffrage was being dramatically expanded during this time, so that it encompassed the vast majority of white men – and by the early twentieth century, many white women as well. In Australia, the prelude to federation also involved debate about the type of democracy to be adopted. Should it be republican? Should it enfranchise all men and women; all people, or only white ones? At stake in these debates were the characteristics and subjectivities one needed to possess before being deemed capable of enfranchisem*nt. To be worthy of the vote, as of other democratic privileges, one needed to be what Toby Miller has called a ‘well-tempered’ subject at the turn of the twentieth century (Miller; Joyce 4). One needed to be carefully deliberative and self-watching, to avoid being ‘savage’, ‘uncivilised’, emotive – all qualities which riotous audience members (like black people and women) were thought not to possess (Lake). This is why the growing respectability of popular theatre is so often considered a key feature of the modernisation of popular culture. Civil and respectful audience behaviours went hand in hand with liberal-democratic concepts of the well-tempered citizen. Working-class culture in late nineteenth-century England has famously (and notoriously) been described as a ‘culture of consolation’: an escapist desire for fun based on a fatalistic acceptance of under-privilege and social discrimination (Jones). This idea does not do justice to the range of hopes and efforts to create a better society among workingpeople at the time. But it still captures the motivation behind most unruly audience behaviours: a gleeful kind of resistance or ‘culture jamming’ which viewed disruption and uproar as ends in themselves, without the hope that they would be productive of improved social conditions. Whether or not theatrical rowdiness served a solely consolatory purpose for the shirt-sleeve crowd, it certainly evoked a sharp fear of disorderly exuberance in mainstream society. Anxieties about violent working-class uprisings leading to the institution of mob rule were a characteristic of the late-nineteenth century, often making their way into fiction (Brantlinger). Roisterous behaviours in popular theatres resonated with the concerns expressed in works such as Caesar’s Column (Donnelly), feeding on a long association between the theatre and misrule. These fears obviously stand in stark contrast to the ebullient commentary surrounding interactive entertainment today. Over-oxygenated rhetoric about the democratic potential of cyberspace was of course a feature of new media commentary at the beginning of the 1990s (for a critique of such rhetoric see Meikle 33–42; Grossman). Current helium-giddy claims about digital technologies as ‘democratising’ reprise this cyberhype (Andrejevic 12–15, 23–8; Jenkins and Thornburn). One recent example of upbeat talk about plebiscitary formats as direct democracy is John Hartley’s contribution to the edited collection, Politicotainment (Hartley, “Reality”). There are now a range of TV shows and online formats, he says, which offer audiences the opportunity to directly express their views. The development of these entertainment forms are part of a movement towards a ‘direct open network’ in global media culture (3). They are also part of a macro historical shift: a movement ‘down the value chain of meaning’ which has taken place over the past few centuries (Hartley, “Value Chain”). Hartley’s notion of a ‘value chain of meaning’ is an application of business analysis to media and cultural studies. In business, a value chain is what links the producer/originator, via commodity/distribution, to the consumer. In the same way, Hartley says, one might speak of a symbolic value chain moving from an author/producer, via the text, to the audience/consumer. Much of western history may indeed be understood as a movement along this chain. In pre-modern times, meaning resided in the author. The Divine Author, God, was regarded as the source of all meaning. In the modern period, ‘after Milton and Johnson’, meaning was located in texts. Experts observed the properties of a text or other object, and by this means discovered its meaning. In ‘the contemporary period’, however – the period roughly following the Second World War – meaning has overwhelming come to be located with audiences or consumers (Hartley, “Value Chain” 131–35). It is in this context, Hartley tells us, that the plebiscite is coming to the fore. As a means of allowing audiences to directly represent their own choices, the plebiscite is part of a new paradigm taking shape, as global culture moves away from the modern epoch and its text-dominated paradigm (Hartley, “Reality” 1–3). Talk of a symbolic value chain is a self-conscious example of the logic of business/cultural partnership currently circulating in neo-liberal discourse. It is also an example of a teleological understanding of history, through which the past few centuries are presented as part of a linear progression towards direct democracy. This teleology works well with the up-tempo talk of television as ‘democratainment’ in Hartley’s earlier work (Hartley, Uses of Television). Western history is essentially a triumphant progression, he implies, from the Dark Ages, to representative democracy, to the enlightened and direct ‘consumer democracy’ unfolding around us today (Hartley, “Reality” 47). Teleological assumptions are always suspect from an historical point of view. For a start, casting the modern period as one in which meaning resided overwhelmingly in the text fails to consider the culture of popular performance flourishing before the twentieth century. Popular theatrical forms were far more significant to ordinary people of the nineteenth century than the notions of empirical or textual analysis cultivated in elite circles. Burlesques, minstrel-shows, music hall and variety productions all took a playful approach to their texts, altering their tone and content in line with audience expectations (Chevalier 40). Before the commercialisation of popular theatre in the late-nineteenth century, many theatricals also worked in a relatively open-ended way. At concert saloons or ‘free-and-easies’ (pubs where musical performances were offered), amateur singers volunteered their services, stepping out from the audience to perform an act or two and then disappearing into it again (Joyce 206). As a precursor to TV talent contests and ‘open mic’ comedy sessions today, many theatrical managers held amateur nights in which would-be professionals tried their luck before a restless crowd, with a contract awarded to performers drawing the loudest applause (Watson 5). Each of these considerations challenge the view that open participatory networks are the expression of an historical process through which meaning has only recently come to reside with audiences and consumers. Another reason for suspecting teleological notions about democracy is that it proceeds as if Foucauldian analysis did not exist. Characterising history as a process of democratisation tends to equate democracy with openness and freedom in an uncritical way. It glosses over the fact that representative democracy involved the repression of directly participatory practices and unruly social groups. More pertinently, it ignores critiques of direct democracy. Even if there are positive aspects to the re-emergence of participatory practices among audiences today, there are still real problems with direct democracy as a political ideal. It would be fairly easy to make the case that rowdy Victorian audiences engaged in ‘direct democratic’ practices during the course of a variety show or burlesque. The ‘gods’ in Victorian galleries exulted in expressing their preferences: evicting lack-lustre comics and demanding more of other performers. It would also be easy to valorise these practices as examples of the kind of culture-jamming I referred to earlier – as forms of resistance to the tyranny of well-tempered citizenship gaining sway at the time. Given the often hysterical attacks directed at unruly audiences, there is an obvious satisfaction to be had from observing the reinstatement of Ta-ra-ra-boom-de-ay at Her Majesty’s Theatre, or in the pleasure that working-class audiences derived from ‘calling the tune’. The same kind of satisfaction is not to be had, however, when observing direct democracy in action on YouTube, or during a season of Dancing with the Stars, or some other kind of plebiscitary TV. The expression of audience preferences in this context hardly carries the subversive connotations of informal evictions during a late-Victorian music-hall show. Viewer-voting today is indeed dominated by a rhetoric of partnership which centres on audience participation, rather than a notion of opposition between producers and audiences (Jenkins). The terrain of plebiscitary entertainment is very different now from the terrain of popular culture described by Stuart Hall in the 1980s – let alone as it stood in the 1890s, during Alice Leamar’s tour. Most commentary on plebiscitary TV avoids talk of ‘cultural struggle’ (Hall 235) and instead adopts a language of collaboration and of people ‘having a ball’ (Neville; Hartley, “Reality” 3). The extent to which contemporary plebiscites are managed by what Hartley calls the ‘plebiscitary industries’ evokes one of the most powerful criticisms made against direct democracy. That is, it evokes the view that direct democracy allows commercial interests to set the terms of public participation in decision-making, and thus to influence its outcomes (Barber 36; Moore 55–56). There is obviously big money to be made from plebiscitary TV. The advertising blitz which takes place during viewer-voting programs, and the vote-rigging scandals so often surrounding them make this clear. These considerations highlight the fact that public involvement in a plebiscitary process is not something to make a song and dance about unless broad involvement first takes place in deciding the issues open for determination by plebiscite, and the way in which these issues are framed. In the absence of this kind of broad participation, engagement in plebiscitary forms serves a solely consolatory function, offering the pleasures of viewer-voting as a substitute for substantive involvement in cultural creation and political change. Another critique sometimes made against direct democracy is that it makes an easy vehicle for prejudice (Barber 36–7). This was certainly the case in Victorian theatres, where it was common for Anglo gallery-members to heckle female and non-white performers in an intimidatory way. A group of American vaudeville performers called the Cherry Sisters certainly experienced this phenomenon in the early 1900s. The Cherry Sisters were defiantly unglamorous middle-aged women in a period when female performers were increasingly expected to display scantily-clad youthful figures on stage. As a consequence, they were embroiled in a number of near-riots in which male audience members hurled abuse and heavy objects from the galleries, and in some cases chased them into the street to physically assault them there (Pittinger 76–77). Such incidents give us a glimpse of the dark face of direct democracy. In some cases, the direct expression of popular views becomes an attack on diversity, leading to the kind of violent mêlée experienced either by the Cherry Sisters or the Middle Eastern people attacked on Sydney’s Cronulla Beach at the end of 2005. ‘Democracy’ is always an obviously politically loaded term when used in debates about new media. It is frequently used to imply that particular cultural or technological forms are inherently liberatory and inclusive. As Graeme Turner points out, reality TV has been celebrated as ‘democratic’ in this way. Only rarely, however, is there an attempt to argue why this is the case – to show how viewer-voting formats actually serve a democratic agenda. It was for this reason that Turner argued that the inclusion of ordinary people on reality TV should be understood as demotic rather than democratic (Turner, Understanding Celebrity 82–5; Turner, “Mass Production”). Ultimately, however, it is immaterial whether one uses the term ‘demotic’ or ‘direct democratic’ to describe the growth of plebiscitary entertainment. What is important is that we avoid making inflated claims about the direct expression of audience views, using the term ‘democratic’ to give an unduly celebratory spin to the political complexities involved. People may indeed be having a ball as they take part in online polls or choose what they want to watch on YouTube or shout at the TV during an episode of Idol. The ‘participatory enthusiasm’ that fans feel watching a show like Big Brother may also have lessons for those interested in making parliamentary process more responsive to people’s interests and needs (Coleman 458). But the development of plebiscitary forms is not inherently democratic in the sense that Turner suggests the term should be used – that is, it does not of itself serve a liberatory or socially inclusive agenda. Nor does it lead to substantive participation in cultural and political processes. In the end, it seems to me that we need to move beyond the discussion of plebiscitary entertainment in terms of democracy. The whole concept of democracy as the yardstick against which new media should be measured is highly problematic. Not only is direct democracy a vexed political ideal to start off with – it also leads commentators to take predictable positions when debating its relationship to new technologies and cultural forms. Some turn to hype, others to critique, and the result often appears as a mere restatement of the commentators’ political inclinations rather than a useful investigation of the developments at hand. Some of the most intriguing aspects of plebiscitary entertainments are left unexplored if we remain preoccupied with democracy. One might well investigate the re-introduction of studio audiences and participatory audience practices, for example, as a nostalgia for the interactivity experienced in live theatres such as the Newtown Bridge in the early twentieth century. It certainly seems to me that a retro impulse informs some of the developments in televised stand-up comedy in recent years. This was obviously the case for Paul McDermott’s The Side Show on Australian television in 2007, with its nod to the late-Victorian or early twentieth-century fairground and its live-theatrical vibe. More relevantly here, it also seems to be the case for American viewer-voting programs such as Last Comic Standing and the Comedy Channel’s Open Mic Fight. Further, reviews of programs such as Idol sometimes emphasise the emotional engagement arising out of their combination of viewer-voting and live performance as a harking-back to the good old days when entertainment was about being real (Neville). One misses this nostalgia associated with plebiscitary entertainments if bound to a teleological assumption that they form part of an ineluctable progression towards the New and the Free. Perhaps, then, it is time to pay more attention to the historical roots of viewer-voting formats, to think about the way that new media is sometimes about a re-invention of the old, trying to escape the recurrent back-and-forthing of debate about their relationship to progress and democracy. References Allen, Robert C. Horrible Prettiness: Burlesque and American Culture .Chapel Hill: University of North Carolina Press, 1991. Andrejevic, Mark. Reality TV: The Work of Being Watched. Lanham, Maryland: Rowman and Littlefield Publishers, 2004. Bailey, Peter. Leisure and Class in Victorian England: Rational Recreation and the Contest for Control, 1830–1885. London: Routledge and Kegan Paul, 1978. Barber, Benjamin R. Strong Democracy: Participatory Politics for a New Age. Berkeley: University of California Press, 1984. ———. “Which Technology and Which Democracy?” Democracy and New Media. Eds. Henry Jenkins and David Thorburn. Cambridge, Massachusetts: MIT Press, 2003. 33–48. Brantlinger, Patrick, Rule of Darkness: British Literature and Imperialism, 1830–1914. Ithaca, New York: Cornell University Press, 1988. Cheshire, D. F. Music Hall in Britain. Rutherford: Fairleigh Dickinson University Press, 1974. Chevalier, Albert. Before I Forget: The Autobiography of a Chevalier d’Industrie. London: T. Fisher Unwin, 1901. Coleman, Stephen. “How the Other Half Votes: Big Brother Viewers and the 2005 General Election”. International Journal of Cultural Studies 9.4 (2006): 457–79. Djubal, Clay. “From Minstrel Tenor to Vaudeville Showman: Harry Clay, ‘A Friend of the Australian Performer’”. Australasian Drama Studies 34 (April 1999): 10–24. Donnelly, Ignatius. Caesar’s Column: A Story of the Twentieth Century. London: Sampson Low, Marston and Co., 1891. Grossman, Lawrence. The Electronic Republic: Reshaping Democracy in the Information Age. New York: Penguin, 1995. Hall, Stuart. “Notes on Deconstructing the ‘Popular’”. People’s History and Socialist Theory. Ed. Raphael Samuel. London: Routledge and Kegan Paul, 1981. 227–49. Hartley, John, The Uses of Television. London: Routledge, 1999. ———. “‘Reality’ and the Plebiscite”. Politoctainment: Television’s Take on the Real. Ed. Kristina Riegert. New York: Peter Lang Publishing, 2006. http://www.cci.edu.au/hartley/downloads/Plebiscite%20(Riegert%20chapter) %20revised%20FINAL%20%5BFeb%2014%5D.pdf. ———. “The ‘Value-Chain of Meaning’ and the New Economy”. International Journal of Cultural Studies 7.1 (2004): 129–41. Jenkins, Henry. “The Cultural Logic of Media Convergence”. International Journal of Cultural Studies 7.1 (2004): 33–43. ———, and David Thornburn. “Introduction: The Digital Revolution, the Informed Citizen, and the Culture of Democracy”. Democracy and New Media. Eds. Henry Jenkins and David Thorburn. Cambridge, Mass.: MIT Press, 2003. 1–20. Jones, Gareth Stedman. ‘Working-Class Culture and Working-Class Politics in London, 1870-1900: Notes on the Remaking of a Working Class’. Languages of Class: Studies in English Working-Class History, 1832–1982. Cambridge: Cambridge University Press, 1983. 179–238. Joyce, Patrick. The Rule of Freedom: Liberalism and the Modern City. London: Verso, 2003. Lake, Marilyn. “White Man’s Country: The Trans-National History of a National Project”. Australian Historical Studies 122 ( 2003): 346–63. Meikle, Graham. Future Active: Media Activism and the Internet. London: Routledge, 2002. Miller, Toby. The Well-Tempered Self: Citizenship, Culture and the Postmodern Subject. Baltimore: Johns Hopkins Press, 1993. Moore, Richard K. “Democracy and Cyberspace”. Digital Democracy: Discourse and Decision Making in the Information Age. Eds. Barry Hague and Brian D. Loader. London and New York: Routledge, 1999. 39–59. Neville, Richard. “Crass, Corny, But Still a Woodstock Moment for a New Generation”. Sydney Morning Herald, 23 November 2004. Pittinger, Peach R. “The Cherry Sisters in Early Vaudeville: Performing a Failed Femininity”. Theatre History Studies 24 (2004): 73–97. Turner, Graeme. Understanding Celebrity. London: Sage, 2004. ———. “The Mass Production of Celebrity: ‘Celetoids’, Reality TV and the ‘Demotic Turn’”. International Journal of Cultural Studies 9.2 (2006): 153–165. Waterhouse, Richard. From Minstrel Show to Vaudeville: The Australian Popular Stage, 1788–1914. Sydney: New South Wales University Press, 1990. Watson, Bobby. Fifty Years Behind the Scenes. Sydney: Slater, 1924.

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The release in 2004 of Gurinder Chadha’s Bride and Prejudice marked yet another contribution to celluloid’s Austen mania that began in the 1990s and is still going strong. Released almost simultaneously on three different continents (in the UK, US, and India), and in two different languages (English and Hindi), Bride and Prejudice, however, is definitely not another Anglo-American period costume drama. Described by one reviewer as “East meets West”, Chadha’s film “marries a characteristically English saga [Austen’s Pride and Prejudice] with classic Bollywood format “transforming corsets to saris, … the Bennetts to the Bakshis and … pianos to bhangra beats” (Adarsh). Bride and Prejudice, thus, clearly belongs to the upcoming genre of South Asian cross-over cinema in its diasporic incarnation. Such cross-over cinema self-consciously acts as a bridge between at least two distinct cinematic traditions—Hollywood and Bollywood (Indian Hindi cinema). By taking Austen’s Pride and Prejudice as her source text, Chadha has added another dimension to the intertextuality of such cross-over cinema, creating a complex hybrid that does not fit neatly into binary hyphenated categories such as “Asian-American cinema” that film critics such as Mandal invoke to characterise diaspora productions. An embodiment of contemporary globalised (post?)coloniality in its narrative scope, embracing not just Amritsar and LA, but also Goa and London, Bride and Prejudice refuses to fit into a neat East versus West cross-cultural model. How, then, are we to classify this film? Is this problem of identity indicative of postmodern indeterminacy of meaning or can the film be seen to occupy a “third” space, to act as a postcolonial hybrid that successfully undermines (neo)colonial hegemony (Sangari, 1-2)? To answer this question, I will examine Bride and Prejudice as a mimic text, focusing specifically on its complex relationship with Bollywood conventions. According to Gurinder Chadha, Bride and Prejudice is a “complete Hindi movie” in which she has paid “homage to Hindi cinema” through “deliberate references to the cinema of Manoj Kumar, Raj Kapoor, Yash Chopra and Karan Johar” (Jha). This list of film makers is associated with a specific Bollywood sub-genre: the patriotic family romance. Combining aspects of two popular Bollywood genres, the “social” (Prasad, 83) and the “romance” (Virdi, 178), this sub-genre enacts the story of young lovers caught within complex familial politics against the backdrop of a nationalist celebration of Indian identity. Using a cinematic language that is characterised by the spectacular in both its aural and visual aspects, the patriotic family romance follows a typical “masala” narrative pattern that brings together “a little action and some romance with a touch of comedy, drama, tragedy, music, and dance” (Jaikumar). Bride and Prejudice’s successful mimicry of this language and narrative pattern is evident in film reviews consistently pointing to its being very “Bollywoodish”: “the songs and some sequences look straight out of a Hindi film” says one reviewer (Adarsh), while another wonders “why this talented director has reduced Jane Austen’s creation to a Bollywood masala film” (Bhaskaran). Setting aside, for the moment, these reviewers’ condemnation of such Bollywood associations, it is worthwhile to explore the implications of yoking together a canonical British text with Indian popular culture. According to Chadha, this combination is made possible since “the themes of Jane Austen’s novels are a ‘perfect fit’ for a Bollywood style film” (Wray). Ostensibly, such a comment may be seen to reinforce the authority of the colonial canonical text by affirming its transnational/transhistorical relevance. From this perspective, the Bollywood adaptation not only becomes a “native” tribute to the colonial “master” text, but also, implicitly, marks the necessary belatedness of Bollywood as a “native” cultural formation that can only mimic the “English book”. Again, Chadha herself seems to subscribe to this view: “I chose Pride and Prejudice because I feel 200 years ago, England was no different than Amritsar today” (Jha). The ease with which the basic plot premise of Pride and Prejudice—a mother with grown-up daughters obsessed with their marriage—transfers to a contemporary Indian setting does seem to substantiate this idea of belatedness. The spatio-temporal contours of the narrative require changes to accommodate the transference from eighteenth-century English countryside to twenty-first-century India, but in terms of themes, character types, and even plot elements, Bride and Prejudice is able to “mimic” its master text faithfully. While the Bennets, Bingleys and Darcy negotiate the relationship between marriage, money and social status in an England transformed by the rise of industrial capitalism, the Bakshis, Balraj and, yes, Will Darcy, undertake the same tasks in an India transformed by corporate globalisation. Differences in class are here overlaid with those in culture as a middle-class Indian family interacts with wealthy non-resident British Indians and American owners of multinational enterprises, mingling the problems created by pride in social status with prejudices rooted in cultural insularity. However, the underlying conflicts between social and individual identity, between relationships based on material expediency and romantic love, remain the same, clearly indicating India’s belated transition from tradition to modernity. It is not surprising, then, that Chadha can claim that “the transposition [of Austen to India] did not offend the purists in England at all” (Jha). But if the purity of the “master” text is not contaminated by such native mimicry, then how does one explain the Indian anglophile rejection of Bride and Prejudice? The problem, according to the Indian reviewers, lies not in the idea of an Indian adaptation, but in the choice of genre, in the devaluation of the “master” text’s cultural currency by associating it with the populist “masala” formula of Bollywood. The patriotic family romance, characterised by spectacular melodrama with little heed paid to psychological complexity, is certainly a far cry from the restrained Austenian narrative that achieves its dramatic effect exclusively through verbal sparring and epistolary revelations. When Elizabeth and Darcy’s quiet walk through Pemberley becomes Lalita and Darcy singing and dancing through public fountains, and the private economic transaction that rescues Lydia from infamy is translated into fisticuff between Darcy and Wickham in front of an applauding cinema audience, mimicry does smack too much of mockery to be taken as a tribute. It is no wonder then that “the news that [Chadha] was making Bride and Prejudice was welcomed with broad grins by everyone [in Britain] because it’s such a cheeky thing to do” (Jha). This cheekiness is evident throughout the film, which provides a splendid over-the-top cinematic translation of Pride and Prejudice that deliberately undermines the seriousness accorded to the Austen text, not just by the literary establishment, but also by cinematic counterparts that attempt to preserve its cultural value through carefully constructed period pieces. Chadha’s Bride and Prejudice, on the other hand, marries British high culture to Indian popular culture, creating a mimic text that is, in Homi Bhabha’s terms, “almost the same, but not quite” (86), thus undermining the authority, the primacy, of the so-called “master” text. This postcolonial subversion is enacted in Chadha’s film at the level of both style and content. If the adaptation of fiction into film is seen as an activity of translation, of a semiotic shift from one language to another (Boyum, 21), then Bride and Prejudice can be seen to enact this translation at two levels: the obvious translation of the language of novel into the language of film, and the more complex translation of Western high culture idiom into the idiom of Indian popular culture. The very choice of target language in the latter case clearly indicates that “authenticity” is not the intended goal here. Instead of attempting to render the target language transparent, making it a non-intrusive medium that derives all its meaning from the source text, Bride and Prejudice foregrounds the conventions of Bollywood masala films, forcing its audience to grapple with this “new” language on its own terms. The film thus becomes a classic instance of the colony “talking back” to the metropolis, of Caliban speaking to Prospero, not in the language Prospero has taught him, but in his own native tongue. The burden of responsibility is shifted; it is Prospero/audiences in the West that have the responsibility to understand the language of Bollywood without dismissing it as gibberish or attempting to domesticate it, to reduce it to the familiar. The presence in Bride and Prejudice of song and dance sequences, for example, does not make it a Hollywood musical, just as the focus on couples in love does not make it a Hollywood-style romantic comedy. Neither The Sound of Music (Robert Wise, 1965) nor You’ve Got Mail (Nora Ephron, 1998) corresponds to the Bollywood patriotic family romance that combines various elements from distinct Hollywood genres into one coherent narrative pattern. Instead, it is Bollywood hits like Dilwale Dulhaniya Le Jayenge (Aditya Chopra, 1995) and Pardes (Subhash Ghai, 1997) that constitute the cinema tradition to which Bride and Prejudice belongs, and against which backdrop it needs to be seen. This is made clear in the film itself where the climactic fight between Darcy and Wickham is shot against a screening of Manoj Kumar’s Purab Aur Paschim (East and West) (1970), establishing Darcy, unequivocally, as the Bollywood hero, the rescuer of the damsel in distress, who deserves, and gets, the audience’s full support, denoted by enthusiastic applause. Through such intertextuality, Bride and Prejudice enacts a postcolonial reversal whereby the usual hierarchy governing the relationship between the colony and the metropolis is inverted. By privileging through style and explicit reference the Indian Bollywood framework in Bride and Prejudice, Chadha implicitly minimises the importance of Austen’s text, reducing it to just one among several intertextual invocations without any claim to primacy. It is, in fact, perfectly possible to view Bride and Prejudice without any knowledge of Austen; its characters and narrative pattern are fully comprehensible within a well-established Bollywood tradition that is certainly more familiar to a larger number of Indians than is Austen. An Indian audience, thus, enjoys a home court advantage with this film, not the least of which is the presence of Aishwarya Rai, the Bollywood superstar who is undoubtedly the central focus of Chadha’s film. But star power apart, the film consolidates the Indian advantage through careful re-visioning of specific plot elements of Austen’s text in ways that clearly reverse the colonial power dynamics between Britain and India. The re-casting of Bingley as the British Indian Balraj re-presents Britain in terms of its immigrant identity. White British identity, on the other hand, is reduced to a single character—Johnny Wickham—which associates it with a callous duplicity and devious exploitation that provide the only instance in this film of Bollywood-style villainy. This re-visioning of British identity is evident even at the level of the film’s visuals where England is identified first by a panning shot that covers everything from Big Ben to a mosque, and later by a snapshot of Buckingham Palace through a window: a combination of its present multicultural reality juxtaposed against its continued self-representation in terms of an imperial tradition embodied by the monarchy. This reductionist re-visioning of white Britain’s imperial identity is foregrounded in the film by the re-casting of Darcy as an American entrepreneur, which effectively shifts the narratorial focus from Britain to the US. Clearly, with respect to India, it is now the US which is the imperial power, with London being nothing more than a stop-over on the way from Amritsar to LA. This shift, however, does not in itself challenge the more fundamental West-East power hierarchy; it merely indicates a shift of the imperial centre without any perceptible change in the contours of colonial discourse. The continuing operation of the latter is evident in the American Darcy’s stereotypical and dismissive attitude towards Indian culture as he makes snide comments about arranged marriages and describes Bhangra as an “easy dance” that looks like “screwing in a light bulb with one hand and patting a dog with the other.” Within the film, this cultural snobbery of the West is effectively challenged by Lalita, the Indian Elizabeth, whose “liveliness of mind” is exhibited here chiefly through her cutting comebacks to such disparaging remarks, making her the film’s chief spokesperson for India. When Darcy’s mother, for example, dismisses the need to go to India since yoga and Deepak Chopra are now available in the US, Lalita asks her if going to Italy has become redundant because Pizza Hut has opened around the corner? Similarly, she undermines Darcy’s stereotyping of India as the backward Other where arranged marriages are still the norm, by pointing out the eerie similarity between so-called arranged marriages in India and the attempts of Darcy’s own mother to find a wife for him. Lalita’s strategy, thus, is not to invert the hierarchy by proving the superiority of the East over the West; instead, she blurs the distinction between the two, while simultaneously introducing the West (as represented by Darcy and his mother) to the “real India”. The latter is achieved not only through direct conversational confrontations with Darcy, but also indirectly through her own behaviour and deportment. Through her easy camaraderie with local Goan kids, whom she joins in an impromptu game of cricket, and her free-spirited guitar-playing with a group of backpacking tourists, Lalita clearly shows Darcy (and the audience in the West) that so-called “Hicksville, India” is no different from the so-called cosmopolitan sophistication of LA. Lalita is definitely not the stereotypical shy retiring Indian woman; this jean-clad, tractor-riding gal is as comfortable dancing the garbha at an Indian wedding as she is sipping marguerites in an LA restaurant. Interestingly, this East-West union in Aishwarya Rai’s portrayal of Lalita as a modern Indian woman de-stabilises the stereotypes generated not only by colonial discourse but also by Bollywood’s brand of conservative nationalism. As Chadha astutely points out, “Bride and Prejudice is not a Hindi film in the true sense. That rikshawallah in the front row in Patna is going to say, ‘Yeh kya hua? Aishwarya ko kya kiya?’ [What did you do to Aishwarya?]” (Jha). This disgruntlement of the average Indian Hindi-film audience, which resulted in the film being a commercial flop in India, is a result of Chadha’s departures from the conventions of her chosen Bollywood genre at both the cinematic and the thematic levels. The perceived problem with Aishwarya Rai, as articulated by the plaintive question of the imagined Indian viewer, is precisely her presentation as a modern (read Westernised) Indian heroine, which is pretty much an oxymoron within Bollywood conventions. In all her mainstream Hindi films, Aishwarya Rai has conformed to these conventions, playing the demure, sari-clad, conventional Indian heroine who is untouched by any “anti-national” western influence in dress, behaviour or ideas (Gangoli,158). Her transformation in Chadha’s film challenges this conventional notion of a “pure” Indian identity that informs the Bollywood “masala” film. Such re-visioning of Bollywood’s thematic conventions is paralleled, in Bride and Prejudice, with a playfully subversive mimicry of its cinematic conventions. This is most obvious in the song-and-dance sequences in the film. While their inclusion places the film within the Bollywood tradition, their actual picturisation creates an audio-visual pastiche that freely mingles Bollywood conventions with those of Hollywood musicals as well as contemporary music videos from both sides of the globe. A song, for example, that begins conventionally enough (in Bollywood terms) with three friends singing about one of them getting married and moving away, soon transforms into a parody of Hollywood musicals as random individuals from the marketplace join in, not just as chorus, but as developers of the main theme, almost reducing the three friends to a chorus. And while the camera alternates between mid and long shots in conventional Bollywood fashion, the frame violates the conventions of stylised choreography by including a chaotic spill-over that self-consciously creates a postmodern montage very different from the controlled spectacle created by conventional Bollywood song sequences. Bride and Prejudice, thus, has an “almost the same, but not quite” relationship not just with Austen’s text but also with Bollywood. Such dual-edged mimicry, which foregrounds Chadha’s “outsider” status with respect to both traditions, eschews all notions of “authenticity” and thus seems to become a perfect embodiment of postcolonial hybridity. Does this mean that postmodern pastiche can fulfill the political agenda of postcolonial resistance to the forces of globalised (neo)imperialism? As discussed above, Bride and Prejudice does provide a postcolonial critique of (neo)colonial discourse through the character of Lalita, while at the same time escaping the trap of Bollywood’s explicitly articulated brand of nationalism by foregrounding Lalita’s (Westernised) modernity. And yet, ironically, the film unselfconsciously remains faithful to contemporary Bollywood’s implicit ideological framework. As most analyses of Bollywood blockbusters in the post-liberalisation (post-1990) era have pointed out, the contemporary patriotic family romance is distinct from its earlier counterparts in its unquestioning embrace of neo-conservative consumerist ideology (Deshpande, 187; Virdi, 203). This enthusiastic celebration of globalisation in its most recent neo-imperial avatar is, interestingly, not seen to conflict with Bollywood’s explicit nationalist agenda; the two are reconciled through a discourse of cultural nationalism that happily co-exists with a globalisation-sponsored rampant consumerism, while studiously ignoring the latter’s neo-colonial implications. Bride and Prejudice, while self-consciously redefining certain elements of this cultural nationalism and, in the process, providing a token recognition of neo-imperial configurations, does not fundamentally question this implicit neo-conservative consumerism of the Bollywood patriotic family romance. This is most obvious in the film’s gender politics where it blindly mimics Bollywood conventions in embodying the nation as a woman (Lalita) who, however independent she may appear, not only requires male protection (Darcy is needed to physically rescue Lakhi from Wickham) but also remains an object of exchange between competing systems of capitalist patriarchy (Uberoi, 207). At the film’s climax, Lalita walks away from her family towards Darcy. But before Darcy embraces the very willing Lalita, his eyes seek out and receive permission from Mr Bakshi. Patriarchal authority is thus granted due recognition, and Lalita’s seemingly bold “independent” decision remains caught within the politics of patriarchal exchange. This particular configuration of gender politics is very much a part of Bollywood’s neo-conservative consumerist ideology wherein the Indian woman/nation is given enough agency to make choices, to act as a “voluntary” consumer, within a globalised marketplace that is, however, controlled by the interests of capitalist patriarchy. The narrative of Bride and Prejudice perfectly aligns this framework with Lalita’s project of cultural nationalism, which functions purely at the personal/familial level, but which is framed at both ends of the film by a visual conjoining of marriage and the marketplace, both of which are ultimately outside Lalita’s control. Chadha’s attempt to appropriate and transform British “Pride” through subversive postcolonial mimicry, thus, ultimately results only in replacing it with an Indian “Bride,” with a “star” product (Aishwarya Rai / Bride and Prejudice / India as Bollywood) in a splendid package, ready for exchange and consumption within the global marketplace. All glittering surface and little substance, Bride and Prejudice proves, once again, that postmodern pastiche cannot automatically double as politically enabling postcolonial hybridity (Sangari, 23-4). References Adarsh, Taran. “Balle Balle! From Amritsar to L.A.” IndiaFM Movie Review 8 Oct. 2004. 19 Feb. 2007 http://indiafm.com/movies/review/7211/index.html>. Austen, Jane. Pride and Prejudice. 1813. New Delhi: Rupa and Co., 1999. Bhabha, Homi. “Of Mimicry and Man: The Ambivalence of Colonial Discourse.” The Location of Culture. Routledge: New York, 1994. 85-92. Bhaskaran, Gautam. “Classic Made Trivial.” The Hindu 15 Oct. 2004. 19 Feb. 2007 http://www.hinduonnet.com/thehindu/fr/2004/10/15/stories/ 2004101502220100.htm>. Boyum, Joy Gould. Double Exposure: Fiction into Film. Calcutta: Seagull Books, 1989. Bride and Prejudice. Dir. Gurinder Chadha. Perf. Aishwarya Ray and Martin Henderson. Miramax, 2004. Deshpande, Sudhanva. “The Consumable Hero of Globalized India.” Bollyworld: Popular Indian Cinema through a Transnational Lens. Eds. Raminder Kaur and Ajay J. Sinha. New Delhi: Sage, 2005. 186-203. Gangoli, Geetanjali. “Sexuality, Sensuality and Belonging: Representations of the ‘Anglo-Indian’ and the ‘Western’ Woman in Hindi Cinema.” Bollyworld: Popular Indian Cinema through a Transnational Lens. Eds. Raminder Kaur and Ajay J. Sinha. New Delhi: Sage, 2005. 143-162. Jaikumar, Priya. “Bollywood Spectaculars.” World Literature Today 77.3/4 (2003): n. pag. Jha, Subhash K. “Bride and Prejudice is not a K3G.” The Rediff Interview 30 Aug. 2004. 19 Feb. 2007 http://in.rediff.com/movies/2004/aug/30finter.htm>. Mandal, Somdatta. Film and Fiction: Word into Image. New Delhi: Rawat Publications, 2005. Prasad, M. Madhava. Ideology of the Hindi Film: A Historical Construction. New Delhi: Oxford UP, 1998. Sangari, Kumkum. Politics of the Possible: Essays on Gender, History, Narratives, Colonial English. New Delhi: Tulika, 1999. Uberoi, Patricia. Freedom and Destiny: Gender, Family, and Popular Culture in India. New Delhi: Oxford UP, 2006. Virdi, Jyotika. The Cinematic Imagination: Indian Popular Films as Social History. Delhi: Permanent Black, 2003. Wray, James. “Gurinder Chadha Talks Bride and Prejudice.” Movie News 7 Feb. 2005. 19 Feb. http://movies.monstersandcritics.com/news/article_4163.php/ Gurinder_Chadha_Talks_Bride_and_Prejudice>. Citation reference for this article MLA Style Mathur, Suchitra. "From British “Pride” to Indian “Bride”: Mapping the Contours of a Globalised (Post?)Colonialism." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/06-mathur.php>. APA Style Mathur, S. (May 2007) "From British “Pride” to Indian “Bride”: Mapping the Contours of a Globalised (Post?)Colonialism," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/06-mathur.php>.

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Abstract:

IntroductionThe wandering narrator is a familiar figure in contemporary literature. This narrator is often searching for something abstract or ill-defined connected to the past and the traces it leaves behind. The works of the German writer W.G. Sebald inspired a number of theories on the various ways a writer might intersect place, memory, and representation through seemingly aimless wandering. This article expands on the scholarship around Sebald’s themes to identify two modes of investigative wandering: (1) wandering “in place”, through a city where a past trauma has occurred, and (2) wandering “out of place”, which occurs when a wanderer encounters a city that is a holding place of traumas experienced elsewhere.Sebald’s narrators mostly conduct wandering “in place” because they are actively immersed in, and wandering through, locations that trigger both memory and thought. In this article, after exploring both Sebald’s work and theories of place in literature, I analyse another example of wandering in place, in the Paris of Patrick Modiano’s novel, The Search Warrant (2014). I conclude by discussing how I encountered this mode of wandering myself when in Moscow and St Petersburg researching my first novel, The Memory Artist (2016). In contrasting these two modes of wandering, my aim is to contribute further nuance to the interpretation of conceptions of place in literature. By articulating the concept of wandering “out of place”, I identify a category of wanderer and writer who, like myself, finds connection with places and their stories without having a direct encounter with that place. Theories of Place and Wandering in W.G. Sebald’s WorkIn this section, I introduce Sebald as a literary wanderer. Born in the south of Germany in 1944, Sebald is perhaps best known for his four “prose fictions”— Austerlitz published in 2001, The Emigrants published in 1996, The Rings of Saturn published in 1998, and Vertigo published in 2000—all of which blend historiography and fiction in mostly plot-less narratives. These works follow a closely autobiographical narrator as he traverses Europe, visiting people and places connected to Europe’s turbulent twentieth century. He muses on the difficulty of preserving the truths of history and speaking of others’ traumas. Sebald describes how “places do seem to me to have some kind of memory, in that they activate memory in those who look at them” (Sebald quoted in Jaggi). Sebald left his native Germany in 1966 and moved to England, where he lived until his untimely death in a car accident in 2001 (Gussow). His four prose fictions feature the same autobiographical narrator: a middle-aged German man who lives in northern England. The narrator traverses Europe with a compulsion to research, ponder, and ultimately, represent historical catastrophes and traumas that haunt him. Anna MacDonald describes how Sebald’s texts “move freely between history and memory, biography, autobiography and fiction, travel writing and art criticism, scientific observation and dreams, photographic and other textual images” (115). The Holocaust and human displacement are simultaneously at the forefront of the narrator’s preoccupations but rarely referenced directly. This singular approach has caused many commentators to remark that Sebald’s works are “haunted” by these traumatic events (Baumgarten 272).Sebald’s narrators are almost constantly on the move, obsessively documenting the locations, buildings, and people they encounter or the history of that place. As such, it is helpful to consider Sebald’s wandering narrator through theories of landscape and its representation in art. Heike Polster describes the development of landscape from a Western European conception and notes how “the landscape idea in art and the techniques of linear perspective appear simultaneously” (88). Landscape is distinguished from raw physical environment by the role of the human mind: “landscape was perceived and constructed by a disembodied outsider” (88). As such, landscape is something created by our perceptions of place. Ulrich Baer makes a similar observation: “to look at a landscape as we do today manifests a specifically modern sense of self-understanding, which may be described as the individual’s ability to view herself within a larger, and possibly historical, context” (43).These conceptions of landscape suggest a desire for narrative. The attempt to fix our understanding of a place according to what we know about it, its past, and our own relationship to it, makes landscape inextricable from representation. To represent a landscape is to offer a representation of subjective perception. This understanding charges the landscapes of literature with meaning: the perceptions of a narrator who wanders and encounters place can be studied for their subjective properties.As I will highlight through the works of Sebald and Modiano, the wandering narrator draws on a number of sources in their representations of both place and memory, including their perceptions as they walk in place, the books they read, the people they encounter, as well as their subjective and affective responses. This multi-dimensional process aligns with Polster’s contention that “landscape is as much the external world as it is a visual and philosophical principle, a principle synthesizing the visual experience of material and geographical surroundings with our knowledge of the structures, characteristics, and histories of these surroundings” (70). The narrators in the works of Sebald and Modiano undertake this synthesised process as they traverse their respective locations. As noted, although their objectives are often vague, part of their process of drawing together experience and knowledge is a deep desire to connect with the pasts of those places. The particular kind of wanderer “in place” who I consider here is preoccupied with the past. In his study of Sebald’s work, Christian Moser describes how “the task of the literary walker is to uncover and decipher the hidden track, which, more often than not, is buried in the landscape like an invisible wound” (47-48). Pierre Nora describes places of memory, lieux de memoire, as locations “where memory crystallizes and secretes itself”. Interest in such sites arises when “consciousness of a break with the past is bound up with a sense that memory has been torn—but torn in such a way as to pose the problem of the embodiment of memory in certain sites where a sense of historical continuity persists” (Nora 7).Encountering and contemplating sites of memory, while wandering in place, can operate simultaneously as encounters with traumatic stories. According to Tim Ingold, “the landscape is constituted as an enduring record of—and testimony to—the lives and works of past generations who have dwelt within it, and in doing so, have left something of themselves […] landscape tells – or rather is – a story” (153). Such occurrences can be traced in the narratives of Sebald and Modiano, as their narrators participate both in the act of reading the story of landscape, through their wandering and their research about a place, but also in contributing to the telling of those stories, by inserting their own layer of subjective experience. In this way, the synthesised process of landscape put forward by Polster takes place.To perceive the landscape in this way is to “carry out an act of remembrance” (Ingold 152). The many ways that a person experiences and represents the stories that make up a landscape are varied and suited to a wandering methodology. MacDonald, for example, characterises Sebald’s methodology of “representation-via-digressive association”, which enables “writer, narrator, and reader alike to draw connections in, and through, space between temporally distant historical events and the monstrous geographies they have left in their wake” (MacDonald 116).Moser observes that Sebald’s narrative practice suggests an opposition between the pilgrimage, “devoted to worship, asceticism, and repentance”, and tourism, aimed at “entertainment and diversion” (Moser 37). If the pilgrim contemplates the objects, monuments, and relics they encounter, and the tourist is “given to fugitive consumption of commercialized sights”, Sebald’s walker is a kind of post-traumatic wanderer who “searches for the traces of a silent catastrophe that constitutes the obverse of modernity and its history of progress” (Moser 37). Thus, wandering tends to “cultivate a certain mode of perception”, one that is highly attuned to the history of a place, that looks for traces rather than common sites of consumption (Moser 37).It is worth exploring the motivations of a wandering narrator. Sebald’s narrator in The Rings of Saturn (2002) provides us with a vague impetus for his wandering: “in the hope of dispelling the emptiness that had taken hold of me after the completion of a long stint of work” (3). In Vertigo (2002), Sebald’s narrator walks with seemingly little purpose, resulting in a sense of confusion or nausea alluded to in the book’s title: “so what else could I do … but wander aimlessly around until well into the night”. On the next page, he refers again to his “aimlessly wandering about the city”, which he continues until he realises that his shoes have fallen apart (35-37). What becomes apparent from such comments is that the process of wandering is driven by mostly subconscious compulsions. The restlessness of Sebald’s wandering narrators represents their unease about our capacity to forget the history of a place, and thereby lose something intangible yet vital that comes from recognising traumatic pasts.In Sebald’s work, if there is any logic to the wanderer’s movement, it is mostly hidden from them while wandering. The narrator of Vertigo, after days of wandering through northern Italian cities, remarks that “if the paths I had followed had been inked in, it would have seemed as though a man had kept trying out new tracks and connections over and over, only to be thwarted each time by the limitations of his reason, imagination or willpower” (Sebald, Vertigo 34). Moser writes how “the hidden order that lies behind the peripatetic movement becomes visible retroactively – only after the walker has consulted a map. It is the map that allows Sebald to decode the ‘writing’ of his steps” (48). Wandering in place enables digressions and preoccupations, which then constitute the landscape ultimately represented. Wandering and reading the map of one’s steps afterwards form part of the same process: the attempt to piece together—to create a landscape—that uncovers lost or hidden histories. Sebald’s Vertigo, divided into four parts, layers the narrator’s personal wandering through Italy, Austria, and Germany, with the stories of those who were there before him, including the writers Stendhal, Kafka, and Casanova. An opposing factor to memory is a landscape’s capacity to forget; or rather, since landscape conceived here is a construction of our own minds, to reflect our own amnesia. Lewis observes that Sebald’s narrator in Vertigo “is disturbed by the suppression of history evident even in the landscape”. Sebald’s narrator describes Henri Beyle (the writer Stendhal) and his experience visiting the location of the Battle of Marengo as such:The difference between the images of the battle which he had in his head and what he now saw before him as evidence that the battle had in fact taken place occasioned in him a vertiginous sense of confusion […] In its shabbiness, it fitted neither with his conception of the turbulence of the Battle of Marengo nor the vast field of the dead on which he was now standing, alone with himself, like one meeting his doom. (17-18)The “vertiginous sense of confusion” signals a preoccupation with attempting to interpret sites of memory and, importantly, what Nora calls a “consciousness of a break with the past” (Nora 7) that characterises an interest in lieux de memoire. The confusion and feeling of unknowing is, I suggest, a characteristic of a wandering narrator. They do not quite know what they are looking for, nor what would constitute a finished wandering experience. This lack of resolution is a hallmark of the wandering narrative. A parallel can be drawn here with trauma fiction theory, which categorises a particular kind of literature that aims to recognise and represent the ethical and psychological impediments to representing trauma (Whitehead). Baumgarten describes the affective response to Sebald’s works:Here there are neither answers nor questions but a haunted presence. Unresolved, fragmented, incomplete, relying on shards for evidence, the narrator insists on the inconclusiveness of his experience: rather than arriving at a conclusion, narrator and reader are left disturbed. (272)Sebald’s narrators are illustrative literary wanderers. They demonstrate a conception of landscape that theorists such as Polster, Baer, and Ingold articulate: landscapes tell stories for those who investigate them, and are constituted by a synthesis of personal experience, the historical record, and the present condition of a place. This way of encountering a place is necessarily fragmented and can be informed by the tenets of trauma fiction, which seeks ways of representing traumatic histories by resisting linear narratives and conclusive resolutions. Modiano: Wandering in Place in ParisModiano’s The Search Warrant is another literary example of wandering in place. This autobiographical novel similarly illustrates the notion of landscape as a construction of a narrator who wanders through cities and forms landscape through an amalgamation of perception, knowledge, and memory.Although Modiano’s wandering narrator appears to be searching the Paris of the 1990s for traces of a Jewish girl, missing since the Second World War, he is also conducting an “aimless” wandering in search of traces of his own past in Paris. The novel opens with the narrator reading an old newspaper article, dated 1942, and reporting a missing fourteen-year-old girl in Paris. The narrator becomes consumed with a need to learn the fate of the girl. The search also becomes a search for his own past, as the streets of Paris from which Dora Bruder disappeared are also the streets his father worked among during the Nazi Occupation of Paris. They are also the same streets along which the narrator walked as an angst-ridden youth in the 1960s.Throughout the novel, the narrator uses a combination of facts uncovered by research, documentary evidence, and imagination, which combine with his own memories of walking in Paris. Although the fragmentation of sources creates a sense of uncertainty, together there is an affective weight, akin to Sebald’s “haunted presence”, in the layers Modiano’s narrator compiles. One chapter opens with an entry from the Clignancourt police station logbook, which records the disappearance of Dora Bruder:27 December 1941. Bruder, Dora, born Paris.12, 25/2/26, living at 41 Boulevard Ornano.Interview with Bruder, Ernest, age 42, father. (Modiano 69)However, the written record is ambiguous. “The following figures”, the narrator continues, “are written in the margin, but I have no idea what they stand for: 7029 21/12” (Modiano 69). Moreover, the physical record of the interview with Dora’s father is missing from the police archives. All he knows is that Dora’s father waited thirteen days before reporting her disappearance, likely wary of drawing attention to her: a Jewish girl in Occupied Paris. Confronted by uncertainty, the narrator recalls his own experience of running away as a youth in Paris: “I remember the intensity of my feelings while I was on the run in January 1960 – an intensity such as I have seldom known. It was the intoxication of cutting all ties at a stroke […] Running away – it seems – is a call for help and occasionally a form of suicide” (Modiano 71). The narrator’s construction of landscape is multi-layered: his past, Dora’s past, his present. Overhanging this is the history of Nazi-occupied Paris and the cultural memory of France’s collaboration with Nazi Germany.With the aid of other police documents, the narrator traces Dora’s return home, and then her arrest and detainment in the Tourelles barracks in Paris. From Tourelles, detainees were deported to Drancy concentration camp. However, the narrator cannot confirm whether Dora was deported to Drancy. In the absence of evidence, the narrator supplies other documents: profiles of those known to be deported, in an attempt to construct a story.Hena: I shall call her by her forename. She was nineteen … What I know about Hena amounts to almost nothing: she was born on 11 December 1922 at Pruszkow in Poland, and she lived at no. 42 Rue Oberkampf, the steeply sloping street I have so often climbed. (111)Unable to make conclusions about Dora’s story, the narrator is drawn back to a physical location: the Tourelles barracks. He describes a walk he took there in 1996: “Rue des Archives, Rue de Bretagne, Rue des-Filles-du-Calvaire. Then the uphill slope of the Rue Oberkampf, where Hena had lived” (Modiano 124). The narrator combines what he experiences in the city with the documentary evidence left behind, to create a landscape. He reaches the Tourelles barracks: “the boulevard was empty, lost in a silence so deep I could hear the rustling of the planes”. When he sees a sign that says “MILITARY ZONE. FILMING OR PHOTOGRAPHY PROHIBITED”, the cumulative effect of his solitary and uncertain wandering results in despair at the difficulty of preserving the past: “I told myself that nobody remembers anything anymore. A no-man’s-land lay beyond that wall, a zone of emptiness and oblivion” (Modiano 124). The wandering process here, including the narrator’s layering of his own experience with Hena’s life, the lack of resolution, and the wandering narrator’s disbelief at the seemingly incongruous appearance of a place today in relation to its past, mirrors the feeling of Sebald’s narrator at the site of the Battle of Marengo, quoted above.Earlier in the novel, after frustrated attempts to find information about Dora’s mother and father, the narrator reflects that “they are the sort of people who leave few traces. Virtually anonymous” (Modiano 23). He remarks that Dora’s parents are “inseparable from those Paris streets, those suburban landscapes where, by chance, I discovered they had lived” (Modiano 23). There is a disjunction between knowledge and something deeper, the undefined impetus that drives the narrator to walk, to search, and therefore to write: “often, what I know about them amounts to no more than a simple address. And such topographical precision contrasts with what we shall never know about their life—this blank, this mute block of the unknown” (Modiano 23). This contrast of topographical precision and the “unknown” echoes the feeling of Sebald’s narrator when contemplating sites of memory. One may wander “in place” yet still feel a sense of confusion and gaps in knowledge: this is, I suggest, an intended aesthetic effect by both authors. Reader and narrator alike feel a sense of yearning and melancholy as a result of the narrator’s wandering. Wandering out of Place in Moscow and St PetersburgWhen I travelled to Russia in 2015, I sought to document, with a Sebaldian wandering methodology, processes of finding memory both in and out of place. Like Sebald and Modiano, I was invested in hidden histories and the relationship between the physical environment and memory. Yet unlike those authors, I focused my wandering mostly on places that reflected or referenced events that occurred elsewhere rather than events that happened in that specific place. As such, I was wandering out of place.The importance of memory, both in and out of place, is a central concept in my novel The Memory Artist. The narrator, Pasha, reflects the concerns of current and past members of Russia’s civic organisation named Memorial, which seeks to document and preserve the memory of victims of Communism. Contemporary activists lament that in modern Russia the traumas of the Gulag labour camps, collectivisation, and the “Terror” of executions under Joseph Stalin, are inadequately commemorated. In a 2012 interview, Irina Flige, co-founder of the civic body Memorial Society in St Petersburg, encapsulated activists’ disappointment at seeing burial sites of Terror victims fall into oblivion:By the beginning of 2000s these newly-found sites of mass burials had been lost. Even those that had been marked by signs were lost for a second time! Just imagine: a place was found [...] people came and held vigils in memory of those who were buried there. But then this generation passed on and a new generation forgot the way to these sites – both literally and metaphorically. (Flige quoted in Karp)A shift in generation, and a culture of secrecy or inaction surrounding efforts to preserve the locations of graves or former labour camps, perpetuate a “structural deficit of knowledge”, whereby knowledge of the physical locations of memory is lost (Anstett 2). This, in turn, affects the way people and societies construct their memories. When sites of past trauma are not documented or acknowledged as such, it is more difficult to construct a narrative about those places, particularly those that confront and document a violent past. Physical absence in the landscape permits a deficit of storytelling.This “structural deficit of knowledge” is exacerbated when sites of memory are located in distant locations. The former Soviet labour camps and locations of some mass graves are scattered across vast locations far from Russia’s main cities. Yet for some, those cities now act as holding environments for the memory of lost camp locations, mass graves, and histories. For example, a monument in Moscow may commemorate victims of an overseas labour camp. Lieux de memoire shift from being “in place” to existing “out of place”, in monuments and memorials. As I walked through Moscow and St Petersburg, I had the sensation I was wandering both in and out of place, as I encountered the histories of memories physically close but also geographically distant.For example, I arrived early one morning at the Lubyanka building in central Moscow, a pre-revolutionary building with yellow walls and terracotta borders, the longstanding headquarters of the Soviet and now Russian secret police (image 1). Many victims of the worst repressive years under Stalin were either shot here or awaited deportation to Gulag camps in Siberia and other remote areas. The place is both a site of memory and one that gestures to traumatic pasts inflicted elsewhere.Image 1: The Lubyanka, in Central MoscowA monument to victims of political repression was erected near the Lubyanka Building in 1990. The monument takes the form of a stone taken from the Solovetsky Islands, an archipelago in the far north, on the White Sea, and the location of the Solovetsky Monastery that Lenin turned into a prison camp in 1921 (image 2). The Solovetsky Stone rests in view of the Lubyanka. In the 1980s, the stone was taken by boat to Arkhangelsk and then by train to Moscow. The wanderer encounters memory in place, in the stone and building, and also out of place, in the signified trauma that occurred elsewhere. Wandering out of place thus has the potential to connect a wanderer, and a reader, to geographically remote histories, not unlike war memorials that commemorate overseas battles. This has important implications for the preservation of stories. The narrator of The Memory Artist reflects that “the act of taking a stone all the way from Solovetsky to Moscow … was surely a sign that we give things and objects and matter a little of our own minds … in a way I understood that [the stone’s] presence would be a kind of return for those who did not, that somehow the stone had already been there, in Moscow” (Brabon 177).Image 2: The Monument to Victims of Political Repression, Near the LubyankaIn some ways, wandering out of place is similar to the examples of wandering in place considered here: in both instances the person wandering constructs a landscape that is a synthesis of their present perception, their individual history, and their knowledge of the history of a place. Yet wandering out of place offers a nuanced understanding of wandering by revealing the ways one can encounter the history, trauma, and memory that occur in distant places, highlighting the importance of symbols, memorials, and preserved knowledge. Image 3: Reflectons of the LubyankaConclusionThe ways a writer encounters and represents the stories that constitute a landscape, including traumatic histories that took place there, are varied and well-suited to a wandering methodology. There are notable traits of a wandering narrator: the digressive, associative form of thinking and writing, the unmapped journeys that are, despite themselves, full of compulsive purpose, and the lack of finality or answers inherent in a wanderer’s narrative. Wandering permits an encounter with memory out of place. The Solovetsky Islands remain a place I have never been, yet my encounter with the symbolic stone at the Lubyanka in Moscow lingers as a historical reminder. This sense of never arriving, of not reaching answers, echoes the narrators of Sebald and Modiano. Continued narrative uncertainty generates a sense of perpetual wandering, symbolic of the writer’s shadowy task of representing the past.ReferencesAnstett, Elisabeth. “Memory of Political Repression in Post-Soviet Russia: The Example of the Gulag.” Online Encyclopedia of Mass Violence, 13 Sep. 2011. 2 Aug. 2019 <https://www.sciencespo.fr/mass-violence-war-massacre-resistance/en/document/memory-political-repression-post-soviet-russia-example-gulag>.Baer, Ulrich. “To Give Memory a Place: Holocaust Photography and the Landscape Tradition.” Representations 69 (2000): 38–62.Baumgarten, Murray. “‘Not Knowing What I Should Think:’ The Landscape of Postmemory in W.G. Sebald’s The Emigrants.” Partial Answers: Journal of Literature and the History of Ideas 5.2 (2007): 267–87.Brabon, Katherine. The Memory Artist. Crows Nest: Allen and Unwin, 2016.Gussow, Mel. “W.G. Sebald, Elegiac German Novelist, Is Dead at 57.” The New York Times 15 Dec. 2001. 2 Aug. 2019 <https://www.nytimes.com/2001/12/15/books/w-g-sebald-elegiac-german-novelist-is-dead-at-57.html>.Ingold, Tim. “The Temporality of the Landscape.” World Archaeology 25.2 (1993): 152–174.Jaggi, Maya. “The Last Word: An Interview with WG Sebald.” The Guardian 22 Sep. 2001. 2 Aug. 2019 <www.theguardian.com/books/2001/sep/22/artsandhumanities.highereducation>.Karp, Masha. “An Interview with Irina Flige.” RightsinRussia.com 11 Apr. 2012. 2 Aug. 2019 <http://www.rightsinrussia.info/archive/interviews-1/irina-flige/masha-karp>.Lewis, Tess. “WG Sebald: The Past Is Another Country.” New Criterion 20 (2001).MacDonald, Anna. “‘Pictures in a Rebus’: Puzzling Out W.G. Sebald’s Monstrous Geographies.” In Monstrous Spaces: The Other Frontier. Eds. Niculae Liviu Gheran and Ken Monteith. Oxford: Interdisciplinary Press, 2013. 115–25.Modiano, Patrick. The Search Warrant. Trans. Joanna Kilmartin. London: Harvill Secker, 2014.Moser, Christian. “Peripatetic Liminality: Sebald and the Tradition of the Literary Walk.” In The Undiscover’d Country: W.G. Sebald and the Poetics of Travel. Ed. Markus Zisselsberger. Rochester New York: Camden House, 2010. 37–62. Nora, Pierre. “Between Memory and History: Les Lieux de Memoire.” Representations 26: (Spring 1989): 7–24.Polster, Heike. The Aesthetics of Passage: The Imag(in)ed Experience of Time in Thomas Lehr, W.G. Sebald, and Peter Handke. Würzburg: Königshausen and Neumann, 2009.Sebald, W.G. The Rings of Saturn. Trans. Michael Hulse. London: Vintage, 2002. ———. Vertigo. Trans. Michael Hulse. London: Vintage, 2002.Whitehead, Anne. Trauma Fiction. Edinburgh: Edinburgh University Press, 2004.

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This essay combines life writing with meditations on the significance of walking as integral to the ritual practice of pilgrimage, where the individual improves her soul or health through the act of walking to a shrine containing healing relics of a saint. Braiding together insights from medieval literature, contemporary ecocriticism, and memory studies, I reflect on my own pilgrimage practice as it impacts the land itself. Canterbury, England serves as the central shrine for four pilgrimages over decades: 1966, 1994, 1997, and 2003.The act of memory was not invented in the Anthropocene. Rather, the nonhuman world has taught humans how to remember. From ice-core samples retaining the history of Europe’s weather to rocks embedded with fossilized extinct species, nonhuman actors literally petrifying or freezing the past—from geologic sites to frozen water—become exposed through the process of anthropocentric discovery and human interference. The very act of human uncovery and analysis threatens to eliminate the nonhuman actor which has hospitably shared its own experience. How can humans script nonhuman memory?As for the history of memory studies itself, a new phase is arguably beginning, shifting from “the transnational, transcultural, or global to the planetary; from recorded to deep history; from the human to the nonhuman” (Craps et al. 3). Memory studies for the Anthropocene can “focus on the terrestrialized significance of (the historicized) forms of remembrance but also on the positioning of who is remembering and, ultimately, which ‘Anthropocene’ is remembered” (Craps et al. 5). In this era of the “self-conscious Anthropocene” (Craps et al. 6), narrative itself can focus on “the place of nonhuman beings in human stories of origins, identity, and futures point to a possible opening for the methods of memory studies” (Craps et al. 8). The nonhuman on the paths of this essay range from the dirt on the path to the rock used to build the sacred shrine, the ultimate goal. How they intersect with human actors reveals how the “human subject is no longer the one forming the world, but does indeed constitute itself through its relation to and dependence on the object world” (Marcussen 14, qtd. in Rodriguez 378). Incorporating “nonhuman species as objects, if not subjects, of memory [...] memory critics could begin by extending their objects to include the memory of nonhuman species,” linking both humans and nonhumans in “an expanded multispecies frame of remembrance” (Craps et al. 9). My narrative—from diaries recording sacred journey to a novel structured by pilgrimage—propels motion, but also secures in memory events from the past, including memories of those nonhuman beings I interact with.Childhood PilgrimageThe little girl with brown curls sat crying softly, whimpering, by the side of the road in lush grass. The mother with her soft brown bangs and an underflip to her hair told the story of a little girl, sitting by the side of the road in lush grass.The story book girl had forgotten her Black Watch plaid raincoat at the picnic spot where she had lunched with her parents and two older brothers. Ponchos spread out, the family had eaten their fresh yeasty rolls, hard cheese, apples, and macaroons. The tin clink of the canteen hit their teeth as they gulped metallic water, still icy cold from the taps of the ancient inn that morning. The father cut slices of Edam with his Swiss army knife, parsing them out to each child to make his or her own little sandwich. The father then lay back for his daily nap, while the boys played chess. The portable wooden chess set had inlaid squares, each piece no taller than a fingernail paring. The girl read a Junior Puffin book, while the mother silently perused Agatha Christie. The boy who lost at chess had to play his younger sister, a fitting punishment for the less able player. She cheerfully played with either brother. Once the father awakened, they packed up their gear into their rucksacks, and continued the pilgrimage to Canterbury.Only the little Black Watch plaid raincoat was left behind.The real mother told the real girl that the story book family continued to walk, forgetting the raincoat until it began to rain. The men pulled on their ponchos and the mother her raincoat, when the little girl discovered her raincoat missing. The story book men walked two miles back while the story book mother and girl sat under the dripping canopy of leaves provided by a welcoming tree.And there, the real mother continued, the storybook girl cried and whimpered, until a magic taxi cab in which the father and boys sat suddenly appeared out of the mist to drive the little girl and her mother to their hotel.The real girl’s eyes shone. “Did that actually happen?” she asked, perking up in expectation.“Oh, yes,” said the real mother, kissing her on the brow. The girl’s tears dried. Only the plops of rain made her face moist. The little girl, now filled with hope, cuddled with her mother as they huddled together.Without warning, out of the mist, drove up a real magic taxi cab in which the real men sat. For magic taxi cabs really exist, even in the tangible world—especially in England. At the very least, in the England of little Susie’s imagination.Narrative and PilgrimageMy mother’s tale suggests how this story echoes in yet another pilgrimage story, maintaining a long tradition of pilgrimage stories embedded within frame tales as far back as the Middle Ages.The Christian pilgrim’s walk parallels Christ’s own pilgrimage to Emmaus. The blisters we suffer echo faintly the lash Christ endured. The social relations of the pilgrim are “diachronic” (Alworth 98), linking figures (Christ) from the past to the now (us, or, during the Middle Ages, William Langland’s Piers Plowman or Chaucer’s band who set out from Southwark). We embody the frame of the vera icon, the true image, thus “conjur[ing] a site of simultaneity or a plane of immanence where the actors of the past [...] meet those of the future” (Alworth 99). Our quotidian walk frames the true essence or meaning of our ambulatory travail.In 1966, my parents took my two older brothers and me on the Pilgrims’ Way—not the route from London to Canterbury that Chaucer’s pilgrims would have taken starting south of London in Southwark, rather the ancient trek from Winchester to Canterbury, famously chronicled in The Old Road by Hilaire Belloc. The route follows along the south side of the Downs, where the muddy path was dried by what sun there was. My parents first undertook the walk in the early 1950s. Slides from that pilgrimage depict my mother, voluptuous in her cashmere twinset and tweed skirt, as my father crosses a stile. My parents, inspired by Chaucer’s Canterbury Tales, decided to walk along the traditional Pilgrims’ Way to Canterbury. Story intersects with material traversal over earth on dirt-laden paths.By the time we children came along, the memories of that earlier pilgrimage resonated with my parents, inspiring them to take us on the same journey. We all carried our own rucksacks and walked five or six miles a day. Concerning our pilgrimage when I was seven, my mother wrote in her diary:As good pilgrims should, we’ve been telling tales along the way. Yesterday Jimmy told the whole (detailed) story of That Darn Cat, a Disney movie. Today I told about Stevenson’s Travels with a Donkey, which first inspired me to think of walking trips and everyone noted the resemblance between Stevenson’s lovable, but balky, donkey and our sweet Sue. (We hadn’t planned to tell tales, but they just happened along the way.)I don’t know how sweet I was; perhaps I was “balky” because the road was so hard. Landscape certainly shaped my experience.As I wrote about the pilgrimage in my diary then, “We went to another Hotel and walked. We went and had lunch at the Boggly [booglie] place. We went to a nother hotel called The Swan with fether Quits [quilts]. We went to the Queens head. We went to the Gest house. We went to aother Hotle called Srping wells and my tooth came out. We saw some taekeys [turkeys].” The repetition suggests how pilgrimage combines various aspects of life, from the emotional to the physical, the quotidian (walking and especially resting—in hotels with quilts) with the extraordinary (newly sprung tooth or the appearance of turkeys). “[W]ayfaring abilities depend on an emotional connection to the environment” (Easterlin 261), whether that environment is modified by humans or even manmade, inhabited by human or nonhuman actors. How can one model an “ecological relationship between humans and nonhumans” in narrative (Rodriguez 368)? Rodriguez proposes a “model of reading as encounter [...] encountering fictional story worlds as potential models” (Rodriguez 368), just as my mother did with the Magic Taxi Cab story.Taxis proliferate in my childhood pilgrimage. My mother writes in 1966 in her diary of journeying along the Pilgrims’ Way to St. Martha’s on the Hill. “Susie was moaning and groaning under her pack and at one desperate uphill moment gasped out, ‘Let’s take a taxi!’ – our highborn lady as we call her. But we finally made it.” “Martha’s”, as I later learned, is a corruption of “Martyrs”, a natural linguistic decay that developed over the medieval period. Just as the vernacular textures pilgrimage poems in the fourteeth century, the common tongue in all its glorious variety seeps into even the quotidian modern pilgrim’s journey.Part of the delight of pilgrimage lies in the characters one meets and the languages they speak. In 1994, the only time my husband and I cheated on a strictly ambulatory sacred journey occurred when we opted to ride a bus for ten miles where walking would have been dangerous. When I ask the bus driver if a stop were ours, he replied, “I'll give you a shout, love.” As though in a P. G. Wodehouse novel, when our stop finally came, he cried out, “Cheerio, love” to me and “Cheerio, mate” to Jim.Language changes. Which is a good thing. If it didn’t, it would be dead, like those martyrs of old. Like Latin itself. Disentangling pilgrimage from language proves impossible. The healthy ecopoetics of languages meshes with the sustainable vibrancy of the land we traverse.“Nettles of remorse…”: Derek Walcott, The Bounty Once my father had to carry me past a particularly tough patch of nettles. As my mother tells it, we “went through orchards and along narrow woodland path with face-high nettles. Susie put a scarf over her face and I wore a poncho though it was sunny and we survived almost unscathed.” Certain moments get preserved by the camera. At age seven in a field outside of Wye, I am captured in my father’s slides surrounded by grain. At age thirty-five, I am captured in film by my husband in the same spot, in the identical pose, though now quite a bit taller than the grain. Three years later, as a mother, I in turn snap him with a backpack containing baby Sarah, grumpily gazing off over the fields.When I was seven, we took off from Detling. My mother writes, “set off along old Pilgrims’ Way. Road is paved now, but much the same as fifteen years ago. Saw sheep, lambs, and enjoyed lovely scenery. Sudden shower sent us all to a lunch spot under trees near Thurnham Court, where we huddled under ponchos and ate happily, watching the weather move across the valley. When the sun came to us, we continued on our way which was lovely, past sheep, etc., but all on hard paved road, alas. Susie was a good little walker, but moaned from time to time.”I seem to whimper and groan a lot on pilgrimage. One thing is clear: the physical aspects of walking for days affected my phenomenological response to our pilgrimage which we’d undertaken both as historical ritual, touristic nature hike, and what Wendell Berry calls a “secular pilgrimage” (402), where the walker seeks “the world of the Creation” (403) in a “return to the wilderness in order to be restored” (416). The materiality of my experience was key to how I perceived this journey as a spiritual, somatic, and emotional event. The link between pilgrimage and memory, between pilgrimage poetics and memorial methods, occupies my thoughts on pilgrimage. As Nancy Easterlin’s work on “cognitive ecocriticism” (“Cognitive” 257) contends, environmental knowledge is intimately tied in with memory (“Cognitive” 260). She writes: “The advantage of extensive environmental knowledge most surely precipitates the evolution of memory, necessary to sustain vast knowledge” (“Cognitive” 260). Even today I can recall snatches of moments from that trip when I was a child, including the telling of tales.Landscape not only changes the writer, but writing transforms the landscape and our interaction with it. As Valerie Allen suggests, “If the subject acts upon the environment, so does the environment upon the subject” (“When Things Break” 82). Indeed, we can understand the “road as a strategic point of interaction between human and environment” (Allen and Evans 26; see also Oram)—even, or especially, when that interaction causes pain and inflames blisters. My relationship with moleskin on my blasted and blistered toes made me intimately conscious of my body with every step taken on the pilgrimage route.As an adult, my boots on the way from Winchester to Canterbury pinched and squeezed, packed dirt acting upon them and, in turn, my feet. After taking the train home and upon arrival in London, we walked through Bloomsbury to our flat on Russell Square, passing by what I saw as a new, less religious, but no less beckoning shrine: The London Foot Hospital at Fitzroy Square.Now, sadly, it is closed. Where do pilgrims go for sole—and soul—care?Slow Walking as WayfindingAll pilgrimages come to an end, just as, in 1966, my mother writes of our our arrival at last in Canterbury:On into Canterbury past nice grassy cricket field, where we sat and ate chocolate bars while we watched white-flannelled cricketers at play. Past town gates to our Queen’s Head Inn, where we have the smallest, slantingest room in the world. Everything is askew and we’re planning to use our extra pillows to brace our feet so we won’t slide out of bed. Children have nice big room with 3 beds and are busy playing store with pounds and shillings [that’s very hard mathematics!]. After dinner, walked over to cathedral, where evensong was just ending. Walked back to hotel and into bed where we are now.Up to early breakfast, dashed to cathedral and looked up, up, up. After our sins were forgiven, we picked up our rucksacks and headed into London by train.This experience in 1966 varies slightly from the one in 1994. Jim and I walk through a long walkway of tall, slim trees arching over us, a green, lush and silent cloister, finally gaining our first view of Canterbury with me in a similar photo to one taken almost thirty years before. We make our way into the city through the West Gate, first passing by St. Dunstan’s Church where Henry II had put on penitential garb and later Sir Thomas More’s head was buried. Canterbury is like Coney Island in the Middle Ages and still is: men with dreadlocks and slinky didjeridoos, fire tossers, mobs of people, tourists. We go to Mercery Lane as all good pilgrims should and under the gate festooned with the green statue of Christ, arriving just in time for evensong.Imagining a medieval woman arriving here and listening to the service, I pray to God my gratefulness for us having arrived safely. I can understand the fifteenth-century pilgrim, Margery Kempe, screaming emotionally—maybe her feet hurt like mine. I’m on the verge of tears during the ceremony: so glad to be here safe, finally got here, my favorite service, my beloved husband. After the service, we pass on through the Quire to the spot where St. Thomas’s relic sanctuary was. People stare at a lit candle commemorating it. Tears well up in my eyes.I suppose some things have changed since the Middle Ages. One Friday in Canterbury with my children in 2003 has some parallels with earlier iterations. Seven-year-old Sarah and I go to evensong at the Cathedral. I tell her she has to be absolutely quiet or the Archbishop will chop off her head.She still has her head.Though the road has been paved, the view has remained virtually unaltered. Some aspects seem eternal—sheep, lambs, and stiles dotting the landscape. The grinding down of the pilgrimage path, reflecting the “slowness of flat ontology” (Yates 207), occurs over vast expanses of time. Similarly, Easterlin reflects on human and more than human vitalism: “Although an understanding of humans as wayfinders suggests a complex and dynamic interest on the part of humans in the environment, the surround itself is complex and dynamic and is frequently in a state of change as the individual or group moves through it” (Easterlin “Cognitive” 261). An image of my mother in the 1970s by a shady tree along the Pilgrims’ Way in England shows that the path is lower by 6 inches than the neighboring verge (Bright 4). We don’t see dirt evolving, because its changes occur so slowly. Only big time allows us to see transformative change.Memorial PilgrimageOddly, the erasure of self through duplication with a precursor occurred for me while reading W.G. Sebald’s pilgrimage novel, The Rings of Saturn. I had experienced my own pilgrimage to many of these same locations he immortalizes. I, too, had gone to Somerleyton Hall with my elderly mother, husband, and two children. My memories, sacred shrines pooling in familial history, are infused with synchronic reflection, medieval to contemporary—my parents’ periodic sojourns in Suffolk for years, leading me to love the very landscape Sebald treks across; sadness at my parents’ decline; hope in my children’s coming to add on to their memory palimpsest a layer devoted to this land, to this history, to this family.Then, the oddest coincidence from my reading pilgrimage. After visiting Dunwich Heath, Sebald comes to his friend, Michael, whose wife Anne relays a story about a local man hired as a pallbearer by the local undertaker in Westleton. This man, whose memory was famously bad, nevertheless reveled in the few lines allotted him in an outdoor performance of King Lear. After her relating this story, Sebald asks for a taxi (Sebald 188-9).This might all seem unremarkable to the average reader. Yet, “human wayfinders are richly aware of and responsive to environment, meaning both physical places and living beings, often at a level below consciousness” (Easterlin “Cognitive” 265). For me, with a connection to this area, I startled with recollection emerging from my subconscience. The pallbearer’s name in Sebald’s story was Mr Squirrel, the very same name of the taxi driver my parents—and we—had driven with many times. The same Mr Squirrel? How many Mr Squirrels can there be in this small part of Suffolk? Surely it must be the same family, related in a genetic encoding of memory. I run to my archives. And there, in my mother’s address book—itself a palimpsest of time with names and addressed scored through; pasted-in cards, names, and numbers; and looseleaf memoranda—there, on the first page under “S”, “Mr. Squirrel” in my mother’s unmistakable scribble. She also had inscribed his phone number and the village Saxmundum, seven miles from Westleton. His name had been crossed out. Had he died? Retired? I don’t know. Yet quick look online tells me Squirrell’s Taxis still exists, as it does in my memory.Making KinAfter accompanying a class on a bucolic section of England’s Pilgrims’ Way, seven miles from Wye to Charing, we ended up at a pub drinking a pint, with which all good pilgrimages should conclude. There, students asked me why I became a medievalist who studies pilgrimage. Only after the publication of my first book on women pilgrims did I realize that the origin of my scholarly, long fascination with pilgrimage, blossoming into my professional career, began when I was seven years old along the way to Canterbury. The seeds of that pilgrimage when I was so young bore fruit and flowers decades later.One story illustrates Michel Serres’s point that we should not aim to appropriate the world, but merely act as temporary tenants (Serres 72-3). On pilgrimage in 1966 as a child, I had a penchant for ant spiders. That was not the only insect who took my heart. My mother shares how “Susie found a beetle up on the hill today and put him in the cheese box. Jimmy put holes in the top for him. She named him Alexander Beetle and really became very fond of him. After supper, we set him free in the garden here, with appropriate ceremony and a few over-dramatic tears of farewell.” He clearly made a great impression on me. I yearn for him today, that beetle in the cheese box. Though I tried to smuggle nature as contraband, I ultimately had to set him free.Passing through cities, landscape, forests, over seas and on roads, wandering by fields and vegetable patches, under a sky lit both by sun and moon, the pilgrim—even when in a group of fellow pilgrims—in her lonesome exercise endeavors to realize Serres’ ideal of the tenant inhabitant of earth. Nevertheless, we, as physical pilgrims, inevitably leave our traces through photos immortalizing the journey, trash left by the wayside, even excretions discretely deposited behind a convenient bush. Or a beetle who can tell the story of his adventure—or terror—at being ensconced for a time in a cheese box.On one notorious day of painful feet, my husband and I arrived in Otford, only to find the pub was still closed. Finally, it became time for dinner. We sat outside, me with feet ensconced in shoes blessedly inert and unmoving, as the server brought out our salads. The salad cream, white and viscous, was presented in an elegantly curved silver dish. Then Jim began to pick at the salad cream with his fork. Patiently, tenderly, he endeavored to assist a little bug who had gotten trapped in the gooey sauce. Every attempt seemed doomed to failure. The tiny creature kept falling back into the gloppy substance. Undaunted, Jim compassionately ministered to our companion. Finally, the little insect flew off, free to continue its own pilgrimage, which had intersected with ours in a tiny moment of affinity. Such moments of “making kin” work, according to Donna Haraway, as “life-saving strateg[ies] for the Anthropocene” (Oppermann 3, qtd. in Haraway 160).How can narrative avoid the anthropocentric centre of writing, which is inevitable given the human generator of such a piece? While words are a human invention, nonhuman entities vitally enact memory. The very Downs we walked along were created in the Cretaceous period at least seventy million years ago. The petrol propelling the magic taxi cab was distilled from organic bodies dating back millions of years. Jurassic limestone from the Bathonian Age almost two hundred million years ago constitutes the Caen stone quarried for building Canterbury Cathedral, while its Purbeck marble from Dorset dates from the Cretaceous period. Walking on pilgrimage propels me through a past millions—billions—of eons into the past, dwarfing my speck of existence. Yet, “if we wish to cross the darkness which separates us from [the past] we must lay down a little plank of words and step delicately over it” (Barfield 23). Elias Amidon asks us to consider how “the ground we dig into and walk upon is sacred. It is sacred because it makes us neighbors to each other, whether we like it or not. Tell this story” (Amidon 42). And, so, I have.We are winding down. Time has passed since that first pilgrimage of mine at seven years old. Yet now, here, I still put on my red plaid wollen jumper and jacket, crisp white button-up shirt, grey knee socks, and stout red walking shoes. Slinging on my rucksack, I take my mother’s hand.I’m ready to take my first step.We continue our pilgrimage, together.ReferencesAllen, Valerie. “When Things Break: Mending Rroads, Being Social.” Roadworks: Medieval Britain, Medieval Roads. Eds. Valerie Allen and Ruth Evans. Manchester: Manchester UP, 2016.———, and Ruth Evans. Introduction. Roadworks: Medieval Britain, Medieval Roads. Eds. Valerie Allen and Ruth Evans. Manchester: Manchester UP, 2016.Alworth, David J. Site Reading: Fiction, Art, Social Form. Princeton: Princeton UP, 2016.Amidon, Elias. “Digging In.” Dirt: A Love Story. Ed. Barbara Richardson. Lebanon, NH: ForeEdge, 2015.Barfield, Owen. History in English Words. Grand Rapids: William B. Eerdmans Publishing, 1967.Berry, Wendell. “A Secular Pilgrimage.” The Hudson Review 23.3 (1970): 401-424.Bright, Derek. “The Pilgrims’ Way Revisited: The Use of the North Downs Main Trackway and the Medway Crossings by Medieval Travelers.” Kent Archaeological Society eArticle (2010): 4-32.Craps, Stef, Rick Crownshaw, Jennifer Wenzel, Rosanne Kennedy, Claire Colebrook, and Vin Nardizzi. “Memory Studies and the Anthropocene: A Roundtable.” Memory Studies 11.4 (2017) 1-18.Easterlin, Nancy. A Biocultural Approach to Literary Theory and Interpretation. Baltimore: Johns Hopkins UP, 2012.———. “Cognitive Ecocriticism: Human Wayfinding, Sociality, and Literary Interpretation.” Introduction to Cognitive Studies. Ed. Lisa Zunshine. Baltimore: Johns Hopkins UP, 2010. 257-274.Haraway, Donna. “Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin.” Environmental Humanities 6 (2015): 159-65.James, Erin, and Eric Morel. “Ecocriticism and Narrative Theory: An Introduction.” English Studies 99.4 (2018): 355-365.Marcussen, Marlene. Reading for Space: An Encounter between Narratology and New Materialism in the Works of Virgina Woolf and Georges Perec. PhD diss. University of Southern Denmark, 2016.Oppermann, Serpil. “Introducing Migrant Ecologies in an (Un)Bordered World.” ISLE 24.2 (2017): 243–256.Oram, Richard. “Trackless, Impenetrable, and Underdeveloped? Roads, Colonization and Environmental Transformation in the Anglo-Scottish Border Zone, c. 1100 to c. 1300.” Roadworks: Medieval Britain, Medieval Roads. Eds. Valerie Allen and Ruth Evans. Manchester: Manchester UP, 2016.Rodriquez, David. “Narratorhood in the Anthropocene: Strange Stranger as Narrator-Figure in The Road and Here.” English Studies 99.4 (2018): 366-382.Savory, Elaine. “Toward a Caribbean Ecopoetics: Derek Walcott’s Language of Plants.” Postcolonial Ecologies: Literatures of the Environment. Eds. Elizabeth DeLoughrey and George B. Handley. Oxford: Oxford UP, 2011. 80-96.Sebald, W.G. The Rings of Saturn. Trans. Michael Hulse. New York: New Directions, 1998.Serres, Michel. Malfeasance: Appropriating through Pollution? Trans. Anne-Marie Feenberg-Dibon. Stanford: Stanford UP, 2011.Walcott, Derek. Selected Poems. Ed. Edward Baugh. New York: Farrar, Straus and Giroux, 1997. 3-16.Yates, Julian. “Sheep Tracks—A Multi-Species Impression.” Animal, Vegetable, Mineral: Ethics and Objects. Ed. Jeffrey Jerome Cohen. Washington, D.C.: Oliphaunt Books, 2012.

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If iconophobia is defined as the suspicion and anxiety towards the power exerted by images, its history is an ancient one in all of its Platonic, Christian, and Judaic forms. At its most radical, iconophobia results in an act of iconoclasm, or the total destruction of the image. At the other end of the spectrum, contemporary iconophobia may be more subtle. Images are simply withdrawn from circulation with the aim of eliminating their visibility. In his book Images in Spite of All, French art historian Georges Didi-Huberman questions the tradition of suspicion and denigration governing visual representations of the Holocaust, arguing we have abdicated our ethical obligation to try to imagine. This essay will argue that disruptions to traditional modes of spectatorship shift the terms of viewing from suspicion to ethical participation. By building on Didi-Huberman’s discussion of images and the spectatorial gaze, this essay will consider Laura Waddington’s 2002 documentary film Border. Waddington spent six months hiding with asylum seekers in the area surrounding the Red Cross refugee camp at Sangatte in northern France. I will argue that Waddington proposes a model of spectatorship that implicates the viewer into the ethical content of the film. By seeking to restore the dignity and humanity of the asylum seekers rather than viewing them with suspicion, Border is an acute reminder of our moral responsibility to bear witness to that which lies beyond the boundaries of conventional representations of asylum seekers.The economy managing the circulation of mainstream media images is a highly suspicious mechanism. After the initial process of image selection and distribution, what we are left with is an already hom*ogenised collection of predictable and recyclable media images. The result is an increasingly iconophobic media gaze as the actual content of the image is depleted. In her essay “Precarious Life,” Judith Butler describes this economy in terms of the “normative processes” of control exercised by the mainstream media, arguing that the structurally unbalanced media representations of the ‘other’ result in creating a progressively dehumanised effect (Butler 146). This process of disidentification completes the iconophobic circle as the spectator, unable to develop empathy, views the dehumanised subject with increasing suspicion. Written in the aftermath of 9/11 and the ensuing War on Terror, Butler’s insights are important as they alert us to the possibility of a breach or rupture in the image economy. It is against Butler’s normative processes that Didi-Huberman’s critique of Holocaust iconoclasm and Waddington’s Border propose a slippage in representation and spectatorship capable of disrupting the hom*ogeneity of the mass circulation of images.Most images that have come to represent the Holocaust in our collective memory were either recorded by the Nazis for propaganda or by the Allies on liberation in 1945. Virtually no photographs exist from inside the concentration camps. This is distinct from the endlessly recycled images of gaunt, emaciated survivors and bulldozers pushing aside corpses which have become critical in defining Holocaust iconography (Saxton 14). Familiar and recognisable, this visual record constitutes a “visual memory bank” that we readily draw upon when conjuring up images of the Holocaust. What occurs, however, when an image falls outside the familiar corpus of Holocaust representation? This was the question raised in a now infamous exhibition held in Paris in 2001 (Chéroux). The exhibition included four small photographs secretly taken by members of the Sonderkommando inside the Nazi extermination camp Auschwitz-Birkenau in August 1944. The Sonderkommando were the group of prisoners who were delegated the task of the day-to-day running of the crematoria. The photographs were smuggled out of the camps in a tube of toothpaste, and eventually reached the Polish Resistance.By evading the surveillance of the SS the photographs present a breach in the economy of Holocaust iconography. They exist as an exception to the rule, mere fragments stolen from beneath the all-seeing eye of the SS Guards and their watch towers. Despite operating in an impossible situation, the inmate maintained the belief that these images could provide visual proof of the existence of the gas chambers. The images are testimony produced inside the camp itself, a direct challenge to the discourse emphasising the prohibition of representation of the Holocaust and in particular the gas chambers. Figure 1 The Auschwitz crematorium in operation, photograph by Sonderkommando prisoners August 1944 © www.auschwitz.org.plDidi-Huberman’s essay marks a point of departure from the iconophobia which has stressed the unimaginable (Lanzmann), unknowable (Lyotard), and ultimately unrepresentable (Levinas) nature of the Holocaust since the 1980s. Denigrated and derided, images have been treated suspiciously by this philosophical line of thought, emphasising the irretrievable gap between representation and the Holocaust. In a direct assault on the tradition of framing the Holocaust as unrepresentable, Didi-Huberman’s essay becomes a plea to the moral and ethical responsibility to bear witness. He writes of the obligation to these images, arguing that “it is a response we must offer, as a debt to the words and images that certain prisoners snatched, for us, from the harrowing Real of their experience” (3). The photographs are not simply archival documents, but a testament to the humanity of the members of the Sonderkommando the Nazis sought to erase.Suspicion towards the potential power exerted by images has been neutralised by models of spectatorship privileging the viewer’s mastery and control. In traditional theories of film spectatorship, the spectator is rendered in terms of a general omnipotence described by Christian Metz as “an all-powerful position which is of God himself...” (49). It is a model of spectatorship that promotes mastery over the image by privileging the unilateral gaze of the spectator. Alternatively, Didi-Huberman evokes a long counter tradition within French literature and philosophy of the “seer seen,” where the object of the spectator’s gaze is endowed with the ability to return the gaze resulting in various degrees of anxiety and paranoia. The image of the “seer seen” recurs throughout the writing of Baudelaire, Sartre, Merleau-Ponty, Lacan, and Barthes, negating the unilateral gaze of an omnipotent spectator (Didi-Huberman, Ce que nous voyons).Didi-Huberman explicitly draws upon Jacques Lacan’s thinking about the gaze in light of this tradition of the image looking back. In his 1964 seminars on vision in the Four Fundamental Concepts of Psychoanalysis, Lacan dedicates several chapters to demonstrate how the visual field is structured by the symbolic order, the real, symbolic and the imaginary. Following Lacan, Didi-Huberman introduces two terms, the veil-image and the tear-image, which are analogous with Lacan’s imaginary and the real. The imaginary, with its connotations of illusion and fantasy, provides the sense of wholeness in both ourselves and what we perceive. For Didi-Huberman, the imaginary corresponds with the veil-image. Within the canon of Holocaust photography, the veil-image is the image “where nobody really looks,” the screen or veil maintaining the spectator’s illusion of mastery (81). We might say that in the circulation of Holocaust atrocity images, the veil serves to anaesthetise and normalise the content of the image.Lacan’s writing on the gaze, however, undermines the spectator’s mastery over the image by placing the spectator not at the all-seeing apex of the visual field, but located firmly within the visual field of the image. Lacan writes, “in the scopic field, the gaze is outside, I am looked at, that is to say, I am the picture...I am photo-graphed” (Lacan 106). The spectator is ensnared in the gaze of the image as the gaze is reciprocated. For Didi-Huberman, the veil-image seeks to disarm the threat to the spectator being caught in the image-gaze. Lacan describes this neutralisation in terms of “the pacifying, Apollonian effect of painting. Something is given not so much to the gaze as to the eye, something that involves the abandonment, the laying down, of the gaze” (101). Further on, Lacan expresses this in terms of the dompte-regarde, or a taming of the gaze (109). The veil-image maintains the fiction of the spectator’s ascendency by subduing the threat of the image-gaze. In opposition to the veil-image is the tear-image, in which for Didi-Huberman “a fragment of the real escapes” (81). This represents a rupture in the visual field. The real is presented here in terms of the tuché, or missed encounter, resulting in the spectator’s anxiety and trauma. As the real cannot be represented, it is the point where representation collapses, rupturing the illusion of coherency maintained by the veil-image. Operating as an exception or disruption to the rule, the tear-image disrupts the image economy. No longer neutralised, the image returns the gaze, shattering the illusion of the all-seeing mastery of the spectator. Didi-Huberman describes this tearing exception to the rule, “where everyone suddenly feels looked at” (81).To treat the Sonderkommando photographs as tear-images, not veil-images, we are offered a departure from classic models of spectatorship. We are forced to align ourselves and identify with the “inhuman” gaze of the Sonderkommando. The obvious response is to recoil. The gaze here is not the paranoid Sartrean gaze, evoking shame in the spectator-as-voyeur. Nor are these photographs reassuring narcissistic veil-images, but will always remain the inimical gaze of the Other—tearing, ripping images, which nonetheless demand that we do not turn away. It is an ethical response we must offer. If the power of the tear-image resides in its ability to disrupt traditional modes of representation and spectatorship, I would like to discuss this in relation to Laura Waddington’s 2004 film Border. Waddington is a Brussels based filmmaker with a particular interest in documenting the movement of displaced peoples. Just as the Sonderkommando photographs were taken clandestinely from beneath the gaze of the SS, Waddington evaded the surveillance of the French police and helicopter patrols as she bore witness to the plight of asylum seekers trying to reach England. Border presents her stolen testimony, operating outside the familiar iconography of mainstream media’s representation of asylum seekers. If we were to consider the portrayal of asylum seekers by the Australian media in terms of the veil-image, we are left with a predictable body of hom*ogenised and neutralised stock media images. The myth of Australia being overrun by boat people is reinforced by the visual iconography of the news media. Much like the iconography of the Holocaust, these types of images have come to define the representations of asylum seekers. Traceable back to the 2001 Tampa affair images tend to be highly militarised, frequently with Australian Navy patrol boats in the background. The images reinforce the ‘stop the boats’ rhetoric exhibited on both sides of politics, paradoxically often working against the grain of the article’s editorial content. Figure 2 Thursday 16 Apr 2009 there was an explosion on board a suspected illegal entry vessel (SIEV) 36 in the vicinity of Ashmore Reef. © Commonwealth of Australia 2011Figure 3 The crew of HMAS Albany, Attack One, board suspected illegal entry vessel (SIEV) 38 © Commonwealth of Australia 2011 The media gaze is structurally unbalanced against the suffering of asylum seekers. In Australia asylum seekers are detained in mandatory detention, in remote sites such as Christmas Island and Woomera. Worryingly, the Department of Immigration maintains strict control over media representations of the conditions inside the camps, resulting in a further abstraction of representation. Geographical isolation coupled with a lack of transparent media access contributes to the ongoing process of dehumanisation of the asylum seekers. Judith Butler describes this as “The erasure of that suffering through the prohibition of images and representations” (146). In the endless recycling of images of leaky fishing boats and the perimeters of detention centres, our critical capacity to engage becomes progressively eroded. These images fulfil the function of the veil-image, where nobody really looks as there is nothing left to see. Figure 4 Asylum seekers arrive by boat on Christmas Island, Friday, July 8, 2011. AAP Image/JOSH JERGA Figure 5 Woomera Detention Centre. AAP Image/ROB HUTCHISON By reading Laura Waddington’s Border against an iconophobic media gaze, we are afforded the opportunity to reconsider this image economy and the suspicious gaze of the spectator it seeks to solicit. Border reminds us of the paradoxical function of the news image—it shows us everything, but nothing at all. In a subtle interrogation of our indifference to the existence of asylum seekers and their suffering, Border is a record of the six months Waddington spent hidden in the fields surrounding the French Red Cross camp at Sangatte in 2002. Sangatte is a small town in northern France, just south of Calais and only one and a half hours’ drive from Paris. The asylum seekers are predominantly Afghan and Iraqi. Border is a record of the last stop in their long desperate journey to reach England, which then had comparatively humane asylum seeking policies. The men are attempting to cross the channel tunnel, hidden in trucks and on freight trains. Many are killed or violently injured in their attempts to evade capture by the French police. Nevertheless they are sustained by the hope that England will offer them “a better life.” Figure 6 Still from Border showing asylum seekers in the fields of Sangatte ©Laura Waddington 2002Waddington dedicates the film, “for those I met.” It is an attempt to restore the humanity and dignity of the people who are denied individual identities. Waddington refuses to let “those who I met” remain nameless. She names them—Omar, Muhammad, Abdulla—and narrates their individual stories. Border is Waddington’s attempt to return a voice to those who have been systematically dehumanised, by-products of wars in Iraq and Afghanistan. In his classic account of documentary, Bill Nichols describes six modes of documentary representation (99–138). In Border, Waddington is working in the participatory mode, going into the field and participating in the lives of others (115). It is via this mode of representation that Waddington is able to heighten the ethical encounter with the asylum seekers. Waddington was afforded no special status as a filmmaker, but lived as a refugee among the asylum seekers during the six months of filming. At no point are we granted visible access to Waddington, yet we are acutely aware of her presence. She is physically participating in the drama unfolding before her. At times, we become alert to her immediate physical danger, as she too runs through the fields away from the police and their dogs.The suspicious gaze is predicated on maintaining a controlled distance between the spectator and the subject. Michele Aaron (82–123) has recently argued for a model of spectatorship as an intrinsically ethical encounter. Aaron demonstrates that spectatorship is not neutral but always complicit—it is a contract between the spectator and the film. Particularly relevant to the purposes of this essay is her argument concerning the “merging gaze,” where the gaze of the filmmaker and spectator are collapsed. This has the effect of folding the spectator into the film’s narrative (93). Waddington exploits the documentary medium to implicate the spectator into the structure of the film. It is in Waddington’s full participatory immersion into the documentary itself that undermines the conventional distance maintained by the spectator. The spectator can no longer remain neutral as the lines of demarcation between filmmaker and spectator collapse.Waddington was shooting alone with a small video camera at night in extremely low-light conditions. The opening scene is dark and grainy, refusing immediate entry into the film. As our eyes gradually adjust to the light, we realise we are looking at a young man, concealed in the bushes from the menacing glare of the lights of oncoming traffic. Waddington does not afford us the all-perceiving spectatorial mastery over the image. Rather, we are crouching with her as she records the furtive movements of the man. The background sound, a subtle and persistent hum, adds to a growing disquiet, a looming sense of apprehension concerning the fate of these asylum seekers. Figure 7 Grainy still showing the Red Cross camp in Border ©Laura Waddington 2002Waddington’s commentary has been deliberately pared back and her voice over is minimal with extended periods of silence. The camera alternates from meditative, lingering shots taken from the safety offered by the Red Cross camp, to the fields where the shots are truncated and chaotically framed. The actions of the asylum seekers jerk and shudder, producing an image akin to the flicker effect of early silent cinema because the film is not running at the full rate of 24 frames per second. Here the images become blurred to the point of unintelligibility. Like the Sonderkommando photographs, the asylum seekers exist as image-fragments, shards stolen by Waddington’s camera as she too works hard to evade capture. Tension gradually increases throughout the film, cumulating in a riot scene after a decision to close the camp down. The sweeping search lights of the police helicopter remind us of the increased surveillance undertaken by the border patrols. Without the safety of the Red Cross camp, the asylum seekers are offered no protection from the increasing police brutality. With nowhere else to go, the asylum seekers are forced into the town of Sangatte itself, to sleep in the streets. They are huddled together, and there is a faintly discernible chant repeating in the background, calling to the UN for help. At points during the riot scene, Waddington completely cuts the sound, enveloping the film in a haunting silence. We are left with a mute montage of distressing still images recording the clash between the asylum seekers and police. Again, we are reminded of Waddington’s lack of immunity to the violence, as the camera is deliberately knocked from her hand by a police officer. Figure 8 Clash between asylum seekers and police in Border ©Laura Waddington 2002It is via the merged gaze of the camera and the asylum seekers that Waddington exposes the fictional mastery of the spectator’s gaze. The fury of the tear-image is unleashed as the image-gaze absorbs the spectator into its visual field. No longer pacified by the veil, the spectator is unable to retreat to familiar modes of spectatorship to neutralise and disarm the image. With no possible recourse to desire and fantasy, the encounter becomes intrinsically ethical. Refusing to be neutralised by the Lacanian veil, the tear-image resists the anaesthetising effects of recycled and predictable images of asylum seekers.This essay has argued that a suspicious spectator is the product of an iconophobic media gaze. In the endless process of recycling, the critical capacity of the image to engage the viewer becomes progressively disarmed. Didi-Huberman’s reworking of the Lacanian gaze proposes a model of spectatorship designed to disrupt this iconophobic image economy. The veil-image asks little from us as spectators beyond our complicity. Protected by the gaze of the image, the fiction of the all—perceiving spectator is maintained. By abandoning this model of spectatorship as Didi-Huberman and Waddington are asking us to do, the unidirectional relationship between the viewer and the image is undermined. The terms of spectatorship may be relocated from suspicion to an ethical, participatory mode of engagement. We are laying down our weapons to receive the gaze of the Other. ReferencesAaron, Michele. Spectatorship: The Power of Looking On. London: Wallflower, 2007.Border. Waddington, Laura. Love Stream Productions, 2004.Butler, Judith. Precarious Life: The Powers of Mourning and Violence.London: Verso, 2004.Chéroux, Clément, ed. Mémoires des Camps. Photographies des Camps de Concentration et d'Extermination Nazis, 1933-1999. Paris: Marval, 2001.Didi-Huberman, Georges. Images in Spite of All: Four Photographs from Auschwitz. Trans. Lillis, Shane B. Chicago: U of Chicago P, 2008.Didi-Huberman, Georges. Ce Que Nous Voyons, Ce Qui Nous regarde.Critique. Paris: Editions de Minuit, 1992.Lacan, Jacques. The Four Fundamental Concepts of Psycho-Analysis.Trans. Sheridan, Alan. Harmondsworth: Penguin, 1986.Levinas, Emmanuel. "Reality and its Shadow." The Levinas Reader. Ed. Hand, Seán. Oxford: Blackwell, 1989. 130–43.Lyotard, Jean-François. The Differend: Phrases in Dispute. Minneapolis: University of Minnesota Press, 1988.Metz, Christian. The Imaginary Signifier: Psychoanalysis and the Cinema. Bloomington: Indiana U P, 1982.Nichols, Bill. Introduction to Documentary. Bloomington: Indiana U P, 2001.Saxton, Libby. Haunted Images: Film, Ethics, Testimony and the Holocaust. London: Wallflower, 2008.

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"Outwit, Outplay, Outlast" "All entertainment has hidden meanings, revealing the nature of the culture that created it" ( 6). This quotation has no greater relevance than for the most powerful entertainment medium of all: television. In fact, television has arguably become part of the "almost unnoticed working equipment of civilisations" (Cater 1). In other words, TV seriously affects our culture, our society, and our lives; it affects the way we perceive and approach reality (see Cantor and Cantor, 1992; Corcoran, 1984; Freedman, 1990; Novak, 1975). In this essay, I argue that the American television programme Survivor is an example of how entertainment (TV in particular) perpetuates capitalistic ideologies. In other words, Survivor is a symptom of American economic culture, which is masked as an "interpersonal game". I am operating under the assumption that television works "ideologically to promote and prefer certain meanings of the world, to circulate some meanings rather than others, and to serve some interests rather than others" (Fiske 20). I argue that Survivor promotes ideals on two levels: economic and social. On the economic level, it endorses the pursuit of money, fame, and successful careers. These values are prevalent in American society and have coalesced into the myth of the "American Dream", which stands for the opportunity for each individual to get ahead in life; someone can always become wealthy (see White, 1988; Cortes, 1982; Grambs, 1982; Rivlin, 1992). These values are an integral part of a capitalistic society, and, as I will illustrate later, Survivor is a symptom of these ideological values. On the second level, it purports preferred social strategies that are needed to "win" at the game of capitalism: forming alliances, lying, and deception. Ideology The discussion of ideology is critical if we are to better understand the function of Survivor in American culture. Ideologies are neither "ideal" nor "spiritual," but rather material. Ideologies appear in specific social institutions and practices, such as cultural artefacts (Althusser, For Marx 232). In that way, everyone "lives" in ideologies. Pryor suggests that ideology in cultural practices can operate as a "rhetoric of control" by structuring the way in which people view the world: Ideology `refracts' our social conditions of existence, structuring consciousness by defining for us what exists, what is legitimate and illegitimate, possible and impossible, thinkable and unthinkable. Entering praxis as a form of persuasion, ideology acts as a rhetoric of control by endorsing and legitimising certain economic, social and political arrangements at the expense of others and by specifying the proper role and position of the individual within those arrangements. (4) Similarly, Althusser suggests, "ideology is the system of ideas and representations which dominate the mind of a man or a social group" (Ideology 149). Thus, ideology, for Althusser, represents the way individuals "live" their relations to society (Eagleton 18). Grossberg suggests, "within such positions, textuality is a productive practice whose (imaginary) product is experience itself. Experience can no longer serve as a mediation between the cultural and the social since it is not merely within the cultural but is the product of cultural practices" (409). The "text" for study, then, becomes the cultural practices and structures, which determine humans. Althusser concludes that ideology reifies our affective, unconscious relations with the world, and determines how people are pre-reflectively bound up in social reality (Eagleton 18). Survivor as a Text In the United States, the "reality TV" genre of programming, such as The Real World, Road Rules, and Big Brother (also quite famous in Europe), are currently very popular. Debuting in May, 2000, Survivor is one of the newest additions to this "reality programming." Survivor is a game, and its theme is: "Outwit, Outplay, Outlast". The premise is the following: Sixteen strangers are "stranded" on a remote island in the South China Sea. They are divided into two "tribes" of eight, the "Pagong" and "Tagi." They have to build shelter, catch food, and establish a "new society". They must work together as a team to succeed, but ultimately, they are competitors. The tribes compete in games for "rewards" (luxury items such as food), and also for "immunity". Every third day, they attend a "tribal council" in which they vote one member off the island. Whoever won the "immunity challenge" (as a tribe early in the show, later, as an individual) cannot be voted off. After several episodes, the two tribes merge into one, "Rattana," as they try to "outwit, outlast, and outplay" the other contestants. The ultimate prize is $1,000,000. The Case of Survivor As Althusser (For Marx) and Pryor suggest, ideology exists in cultural artefacts and practices. In addition, Pryor argues that ideology defines for us what is "legitimate and illegitimate," and "thinkable and unthinkable" by "endorsing certain economic and social arrangements" (4). This is certainly true in the case of Survivor. The programme is definitely a cultural artefact that endorses certain practices. In fact, it defines for us the "preferred" economic and social arrangements. The show promotes for us the economic arrangement of "winning" money. It also defines the social arrangements that are legitimate, thinkable, and necessary to win the interpersonal and capitalistic game. First, let us discuss the economic arrangements that Survivor purports. The economic arrangements that Survivor perpetuates are in direct alignment with those of the "game" of capitalism: to "win" money, success, and/or fame (which will lead to money). While Richard, the $1,000,000 prize winner, is the personification of the capitalistic/American Dream come true, the other contestants certainly have had their share of money and fame. For example, after getting voted off the island, many of the former cast members appeared on the "talk show circuit" and have done many paid interviews. Joel Klug has done approximately 250 interviews (Abele, Alexander and Lasswell 62), and Stacey Stillman is charging $1200 for a "few quotes," and $1800 for a full-length interview (Millman et al. 16). Jenna Lewis has been busy with paid television engagements that require cross country trips (Abele, Alexander and Lasswell 63). In addition, some have made television commercials. Both B. B. Andersen and Stacey Stillman appeared in Reebok commercials that were aired during the remaining Survivor episodes. Others are making their way even farther into Hollywood. Most have their own talent agents who are getting them acting jobs. For example, Sean Kenniff is going to appear in a role on a soap opera, and Gervase Peterson is currently "sifting through offers" to act in television situation comedies and movies. Dirk Been has been auditioning for movie roles, and Joel Klug has moved to Los Angeles to "become a star". Even Sonja Christopher, the 63-year-old breast cancer survivor and the first contestant voted off, is making her acting debut in the television show, Diagnosis Murder (Abele, Alexander and Lasswell 57). Finally, two of the women contestants from Survivor were also tempted with a more "risky" offer. Both Colleen Haskell and Jenna Lewis were asked to pose for Playboy magazine. While these women are certainly attractive, they are not the "typical-looking" playboy model. It is obvious that their fame has put them in the mind of Hugh Heffner, the owner of Playboy. No one is revealing the exact amount of the offers, but rumours suggest that they are around $500,000. Thus, it is clear that even though these contestants did not win the $1,000,000, they are using their famous faces to "win" the capitalistic game anyway. Not only does Survivor purport the "preferred" economic arrangements, it also defines for us the social arrangements needed to win the capitalistic game: interpersonal strategy. The theme of the strategy needed to win the game is "nice guys don't last". This is demonstrated by the fact that Gretchen, a nice, strong, capable, and nurturing "soccer mother" was the seventh to be voted off the island. There were also many other "nice" contestants who were eventually voted off for one reason or another. However, on the other hand, Richard, the million-dollar winner, used "Machiavellian smarts" to scheme his way into winning. After the final episode, he said, "I really feel that I earned where I am. The first hour on the island I stepped into my strategy and thought, 'I'm going to focus on how to establish an alliance with four people early on.' I spend a lot of time thinking about who people are and why they interact the way they do, and I didn't want to just hurt people's feelings or do this and toss that one out. I wanted this to be planned and I wanted it to be based on what I needed to do to win the game. I don't regret anything I've done or said to them and I wouldn't change a thing" (Hatch, n.pag.). One strategy that worked to Richard's advantage was that upon arriving to the island, he formed an alliance with three other contestants: Susan, Rudy, and Kelly. They decided that they would all vote the same person off the island so that their chances of staying were maximised. Richard also "chipped in", did some "dirty work", and ingratiated himself by being the only person who could successfully catch fish. He also interacted with others strategically, and decided who to vote off based on who didn't like him, or who was more likeable than him (or the rest of the alliance). Thus, it is evident that being part of an alliance is definitely needed to win this capitalistic game, because the four people who were part of the only alliance on the island were the final contestants. In fact, in Rudy's (who came in third place) final comments were, "my advice for anybody who plays this game is form an alliance and stick with it" (Boesch, n.pag.). This is similar to corporate America, where many people form "cliques", "alliances", or "particular friendships" in order to "get ahead". Some people even betray others. We definitely saw this happen in the programme. This leads to another essential ingredient to the social arrangements: lying and deception. In fact, in episode nine, Richard (the winner) said to the camera, "outright lying is essential". He also revealed that part of his strategy was making a big deal of his fishing skills just to distract attention from his schemings. He further stated, "I'm not still on the island because I catch fish, I'm here because I'm smart" (qtd. in Damitol, n.pag.). For example, he once thought the others did not appreciate his fishing skills. Thus, he decided to stop fishing for a few days so that the group would appreciate him more. It was seemingly a "nasty plan", especially considering that at the time, the other tribe members were rationing their rice. However, it was this sort of behaviour that led him to win the game. Another example of the necessity for lying is illustrated in the fact that the alliance of Richard, Rudy, Sue, and Kelly (the only alliance) denied to the remaining competitors that they were scheming. Sue even blatantly lied to the Survivor host, Jeff Probst, when he asked her if there was an alliance. However, when talking to the cameras, they freely admitted to its existence. While the alliance strategy worked for most of the game, in the end, it was destined to dissolve when they had to start voting against each other. So, just as in a capitalistic society, it is ultimately, still "everyone for her/himself". The best illustration of this fact is the final quote that Kelly made, "I learned early on in the game [about trust and lying]. I had befriended her [Sue -- part of Kelly's alliance]; I trusted her and she betrayed me. She was lying to me, and was plotting against me from very early on. I realised that and I knew that. Therefore I decided not to trust her, not to be friends with her, not to be honest with her, for my own protection" (Wiglesworth, n.pag.). Therefore, even within the winning alliance, there was a fair amount of distrust and deception. Conclusion In conclusion, I have demonstrated how Survivor promotes ideals on two levels: economic and social. On the economic level, it endorses the pursuit of money, fame, and successful careers. On the social level, it purports preferred interpersonal strategies that are needed to "win" at the game of capitalism. In fact, it promotes the philosophy that "winning money at all costs is acceptable". We must win money. We must lie. We must scheme. We must deceive. We must win fame. Whether or not the audience interpreted the programme this way, what is obvious to everyone is the following: six months ago, the contestants on Survivor were ordinary American citizens; now they are famous and have endless opportunities for wealth. References Abele, R., M. Alexander and M. Lasswell. "They Will Survive." TV Guide 48.38 (2000): 56-63. Althusser, L. For Marx. Trans. Ben Brewster. New York: Vintage Books, 1969, 1970. ---. "Ideology and Ideological State Apparatuses." Lenin and Philosophy and Other Essays. Trans. Ben Brewster. London: New Left Books, 1971. ---. Philosophy and the Spontaneous Philosophy of the Scientists. Trans. Ben Brewster. London: Verso, 1990. Boesch, R. "Survivor Profiles: Rudy." CBS Survivors Website. 2000. 26 Sep. 2000 <http://www.cbs.com/primetime/survivor/survivors/rudy_f.shtml>. Cantor, M.G., and J. M. Cantor. Prime Time Television Content and Control. Newbury Park: Sage Publications, 1992. Cater, D. "Television and Thinking People." Television as a Social Force: New Approaches to TV Criticism. Ed. D. Cater and R. Adler. New York: Praeger Publications, 1975. 1-8. Corcoran, F. "Television as Ideological Apparatus: The Power and the Pleasure." Critical Studies in Mass Communication 1 (1984): 131-45. Cortes, C. E. "Ethnic Groups and the American Dream(s)." Social Education 47.6 (1982): 401-3. Damitol. "Episode 9A -- 'Oh God! My Eyes! My Eyes!' or 'Richard Gets Nekkid'." Survivorsucks.com. 2000. 16 Oct. 2000 <http://www.survivorsucks.com/summaries.s1.9a.php>. Eagleton, T. Ideology: An Introduction. London: Verso, 1991. Ellis, K. "Queen for One Day at a Time." College English 38.8 (1977): 775-81. Freedman, C. "History, Fiction, Film, Television, Myth: The Ideology of M*A*S*H." The Southern Review 26.1 (1990): 89-106. Grambs, J. D. "Mom, Apple Pie, and the American Dream." Social Education 47.6 (1982): 405-9. Grossberg, L. "Strategies of Marxist Cultural Interpretation." Critical Studies in Mass Communication 1 (1984): 392-421. Jones, G. Honey, I'm Home! Sitcoms Selling the American Dream. New York: Grove Weidenfeld, 1992. Hatch, R. "Survivor Profiles: Richard." CBS Survivors Website. 2000. 26 Sep. 2000 <http://www.cbs.com/primetime/survivor/survivors/richard_f.shtml>. Hofeldt, R. L. "Cultural Bias in M*A*S*H." Society 15.5 (1978): 96-9. Lichter, S. R., L. S. Lichter, and S. Rothman. Watching America. New York: Prentice Hall, 1991. Millman, J., J. Stark, and B. Wyman. "'Survivor,' Complete." Salon Magazine 28 June 2000. 16 Oct. 2000 <http://www.salon.com/ent/tv/feature/2000/06/28/survivor_episodes/index.php>. Novak, M. "Television Shapes the Soul." Television as a Social Force: New Approaches to TV Criticism. Ed. D. Cater and R. Adler. New York: Praeger Publications, 1975. 9-20. Pryor, R. "Reading Ideology in Discourse: Charting a Rhetoric of Control." Unpublished Essay. Northern Illinois University, 1992. Rivlin, A. M. Reviving the American Dream. Washington, D. C.: The Brookings Institution, 1992. White, J. K. The New Politics of Old Values. Hanover: UP of New England, 1988. Wiglesworth, K. "Survivor Profiles: Kelly." CBS Survivors Website. 2000. 26 Sep. 2000 <http://www.cbs.com/primetime/survivor/survivors/kelly_f.shtml>. Citation reference for this article MLA style: Carol Morgan. "Capitalistic Ideology as an 'Interpersonal Game': The Case of Survivor." M/C: A Journal of Media and Culture 3.5 (2000). [your date of access] <http://www.api-network.com/mc/0010/survivor.php>. Chicago style: Carol Morgan, "Capitalistic Ideology as an 'Interpersonal Game': The Case of Survivor," M/C: A Journal of Media and Culture 3, no. 5 (2000), <http://www.api-network.com/mc/0010/survivor.php> ([your date of access]). APA style: Carol Morgan. (2000) Capitalistic Ideology as an 'Interpersonal Game': The Case of Survivor. M/C: A Journal of Media and Culture 3(5). <http://www.api-network.com/mc/0010/survivor.php> ([your date of access]).

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Introduction Based on the profusion of scholarly and populist analysis of the relationship between books and films one could easily be forgiven for thinking that the exchange between the two media was a decidedly one-way affair. Countless words have been expended upon the subject of literary adaptation, in which the process of transforming stories and novels into cinematic or televisual form has been examined in ways both general and particular. A relationship far less well-documented though is that between popular novels and the films that have spawned them. With the notable exception of Randall D. Larson’s valuable Films into Books, which is centred mainly on correspondence with prolific writers of “novelisations”, academic study of this extremely widespread phenomenon has been almost non-existent. Even Linda Hutcheon’s admirable recent publication, A Theory of Adaptation, makes scant mention of novelisations, in spite of her claim that this flourishing industry “cannot be ignored” (38). Retelling film narratives in a written form is nothing new. Indeed, as Larson notes, “novelisations have existed almost as long as movies have” and can be found as far back as the 1920s, although it was not until the advent of mass-market paperbacks that they truly came into their own (3-4). The sixties and seventies were boom years for novelisations as they provided film lovers with a way to re-experience their favourite movies long after they had disappeared from cinema screens. It shouldn’t be forgotten that before the advent of home video and DVD books were, along with television broadcasts, the most widely accessible way in which people could do so. Even today they continue to appear in book shops. At the same time, the Internet age has fuelled the creation and dissemination of a vast array of “fan-fiction” that supplements the output of authorised writers. Despite the vast consumer appetite for novelisations, however, their critical reception has been noticeably cool. Jonathan Coe’s caustic appraisal of novelisations as “that bastard, misshapen offspring of the cinema and the written word” represents the prevailing attitude toward them (45). The fact that many are genre novels—sci-fi, western and crime thrillers—and that the majority are decidedly low-brow has not helped to secure them critical plaudits. Other reasons though lie beyond these prejudices. For one thing, many are simply not very well written according to any conventional measure. When one considers the time constraints under which a lot of these books were produced this is hardly surprising. Based on his extensive correspondence with authors, Larson suggests four to six weeks as around the average writing time, with some adaptations, such as Michael Avallone’s Beneath the Planet of the Apes, spewed out in a single weekend (12). The quality of the writing in many novelisations is certainly hard to defend, and yet one other widely held view of them holds considerably less water. This is the idea of novelisations as pale shadows of the movies deemed to be their source, in which only the most manifest content of characterisation and plot are reproduced. In this denuded form, it is implied, a great deal of value has been lost while only rarely has anything of significant value been added. This point of view is in strong contrast with the now customary acceptance that in the reverse process of adaptation—from book to film—while some elements may be necessarily or wilfully sacrificed, significant gains in emotional impact, characterisation or other dramatic features may often be made as a result of the different techniques available through the film medium. If we think of films as the source of novelisations we slip into a great fallacy however. In the vast majority of cases the books are not based on films at all but on their screenplays. Unlike literary adaptations, film and book do not draw one from the other but instead each produces in a different medium an adaptation of a shared source. It has generally been considered desirable to have a novelisation available for public purchase by the time the movie reaches theatres and, since time must be allowed for printing and distribution, this has generally meant that the book must be completed before the filming wraps (Larson, 12-3). No wonder, then, that novelisations rarely attempt to describe a film’s mise-en-scène. While the industrial process by which the books are produced can help to explain some features of their relationship to the films whose stories they share, the fact that they are seldom adaptations of these actual films is a point that their marketing has tended to suppress. It is normal for book covers to feature one or more images from the film. Names of stars often appear prominently, and a more detailed list of the film’s key cast and credits can generally be found in smaller print on the back of the book. Novelisations are not sold or consumed as alternative adaptations of a screenplay but through the implication of a much closer relationship to the film than many in fact possess. This discordance allows us to consider novelisations as a re-imagining of the film on two temporal levels. On the one hand, the novelisation can be thought of as preceding the film. It is not unusual for such a book to adapt an older version of the script than the one that was actually shot, thus rendering a single definitive script source elusive if not downright illusory. It is fairly common to find whole scenes missing from the book or conversely to read extensive narrative episodes that never made their way into the finished picture. Dialogue is often a mere paraphrase, no matter how diligently the author has replicated the lines of the script. Such largely unintentional differences can provide fascinating insights into the film’s production history, revealing other paths that the film might well have taken. On the other hand, despite its being published simultaneously with (or even before) the film’s release, a novelisation will often be consumed after viewing the film, in order to help its readers re-experience the movie or to develop and augment that experience. Novelisations can thus be seen to give rise to three main areas of interest. As historical documents they can be of use when considering a film’s developmental process. They also provide alternative readings of the film script and may, by extension, help to enrich a viewer’s retrospective relationship with the film itself. Thirdly, they offer an avenue for exploring the differing narrational forms and capabilities of the two media. “Talk of adaptation,” Yvonne Tasker has argued, “often seems to take place in an abstract hierarchical mode—a hierarchy in which literature seems to emerge as almost by default ‘better’, more complex than film” (18). As we shall see, such a position is not always easy to support. In considering these aspects of the novelisation we now turn to two closely related examples. The film Capricorn One, released in the United States in 1978, was directed by Peter Hyams from his own screenplay. For our purposes it is most notable as one of several works that spawned two separate English language novelisations, each by different authors. One by Bernard L. Ross (a youthful pseudonym of the now popular novelist Ken Follett) was published in England, while Ron Goulart’s version was published in the United States. The story of Capricorn One centres on a colossal fraud perpetrated by NASA in an attempt to conceal a catastrophic problem with its manned mission to Mars. Realising that a fault in the shuttle’s life support system means that the astronauts will not survive the journey, but that admission of failure will provide the government with the long-sought excuse to cut the program’s funding, a conspiracy is hatched to fake a successful mission by enacting the landing in a clandestine television studio. When the shuttle breaks up on re-entry, the three astronauts realise that their existence jeopardises this elaborate fraud and that they must go on the run for a chance at survival. Meanwhile, a journalist finds his own life in peril as he doggedly pursues a hunch that all is not as it should be with the Capricorn One mission. Novelisations as Evidence of the Film’s Production History Each book shows, in a range of ways, its fidelity to a shared source: the screenplay (or, at least, to the elements that remained unchanged through various screenplay drafts). That the screenplay comprised not only extensive dialogue but also some descriptive material becomes clear at a very early stage. Goulart opens with the following image: “The sun, an intense orange ball, began to rise over the Atlantic” (5). Several pages into his own book, Ross introduces the same narrative event with these words: “The morning sun rose like a big orange lollipop over the Atlantic Ocean” (10). The comparability of these visually evocative images with the equivalent moment in the finished film might suggest a fairly straightforward transposition of the screenplay into the three marketed texts. However, other sections belie any such assumption. The books’ origin in the screenplay and not in the film itself, and the considerable evolution that has occurred between screenplay and finished film, are expressed in two main ways. The first is the presence of corresponding scenes in both books that do not occur in the film. Where a non-filmed scene occurs in one book only we can assume a high probability that it is an invention of the book’s author which is intended to develop the narrative or characterisation. When found in both books, though, we can only infer that a scene outlined in the screenplay was dropped during either the film’s production or editing phase. For instance, in all three versions of the narrative, an attempt is made on the life of reporter Robert Caulfield (Elliott Gould) by tampering with his car. A high-speed action sequence culminates when car and driver plummet into a deep river. Whereas the film moves swiftly to the next scene without ever explaining how Caulfield managed to extricate himself from this perilous situation, each book extends the sequence with a description of how he disentangles his trouser leg from the door handle in order to pull himself through the open window and out of the sinking vehicle (Goulart, 96-7; Ross, 86). Indeed, the retention of this scene in the novelisations fills what is in the film an unsatisfying narrative ellipsis. The second proof of an evolution between screenplay and film is perhaps even more interesting in understanding the production process. This is that narrative events do not all occur in the same order in each book. The differences between the two books, as well as between books and film, suggest that Goulart’s was based on a later version of the screenplay as it corresponds more closely with the film’s chronology of events. The narrational structure of each text consists of a number of alternating segments designed to maintain tension while following simultaneously occurring incidents in the adventures of each of the protagonists. This is especially the case in the last half of the story where the three astronauts—Col. Charles Brubaker (James Brolin), Lt. Col. Peter Willis (Sam Waterston) and Cmdr. John Walker (O. J. Simpson)—have escaped into the desert and split up to maximise the chance that one will survive to expose the swindle. Narrational segments follow their individual progress as well as that of Caulfield’s investigation and of NASA director James Kelloway (Hal Holbrook)’s attempts to manage the crisis of the astronauts’ escape. It is evident that during the film’s post-production some reshuffling of these sequences was undertaken in order to maximise suspense. Further evidence that Ross’s book was based on an earlier screenplay than Goulart’s source emerges through its ending which, unlike Goulart’s, differs from the finished film. In every version of the story, Caulfield is able to rescue Brubaker and deliver him to his wife Kay (Brenda Vaccaro) in front of the watching media. Instead of doing so at a memorial service for the “dead” astronauts, however, Ross has this event take place at Bru’s home, after the service occurs without incident some pages earlier. This episode, more that any other in either book, is conspicuous in its variance from the film. Other discrepancies are based on addition, non-inclusion or reordering: different tellings of the same tale. Here, however, consumers of these texts are faced with two mutually exclusive finales that enforce a choice between the “right” and “wrong” version of the story. Enriching Character and Plot through Alternative Readings of the Script Although the examples above highlight some significant variations in the three versions of Capricorn One, none show evidence of intentional narrative difference. In some other respects, though, the authors of the novelisations did employ constituents of their own invention in order to transform the source material into the format expected by the readers of any novel. One key technique is shared by both authors. This is the fleshing-out of characters, a technique used more extensively by Ross than Goulart, and one which is largely responsible for his book’s greater length (an estimated 68,000 words, compared with Goulart’s 37,000). Goulart, for his part, largely confines this technique to the latter section of the story where the astronauts make their individual journeys across the desert. While his book is comprised, for the most part, of reported speech, the protagonists’ solitude in this part of the story leads him to recourse to descriptions of their thoughts in order to stretch out and enliven what would otherwise be an exceptionally brief and potentially dull account. Ross embraces the task of elaborating characterisation with considerably greater fervour. As well as representing their thoughts, he regularly adds passages of back story. During a breakfast scene before the launch (present in both books but absent from the finished film) he describes how each astronaut came to be involved in the mission and their feelings about it. Similarly he describes childhood or youthful incidents in their lives and in those of Kelloway and Caulfield in order to explain and add believability to some of their later actions. Even the biography and thoughts of relatively minor characters, such as the whistleblowing NASA employee Elliot Whitter (Robert Walden), are routinely developed. However, Ross does not stop here in elaborating the blueprint offered by the screenplay. New characters are added in order to develop a subplot glossed over in the film. These additions relate to an elderly European man, Mr. Julius, who is affiliated with a couple of Kelloway’s corporate accomplices and whose shady employees are responsible for both the attempts to assassinate Caulfield and for piloting the helicopters used to seek and destroy the escaped astronauts. In such ways, Ross succeeds in producing a rendition of the story that (barring its anomalous ending) enhances that of the film without conspicuously competing against what all the marketing points to as the “definitive” version. The Differing Narrational Capabilities of Films and Books While this section is indebted to the methods and findings of existing studies of novel-to-film adaptations, through close attention to the reverse process (or, more accurately, to screenplay-to-novel adaptations) we can observe another less recognised dynamic at work. This is the novelisers’ efforts to assimilate what are more traditionally cinematic devices into their writing. By way of illustration, our case study shows how it has led both Ross and Goulart to employ a writing style that sometimes contrasts with the norms of original mainstream novels. My comments thus far have dwelt mainly on differences in the placement and inclusion of narrative events, although the description of how the novelisers have expanded characters’ back stories suggests one way in which the written word can lend itself more readily to the concise interspersion of such material than can the film medium. This is not to say that film is incapable of rendering such incidents; merely that the representation of back story requires either lengthy spoken exposition or the insertion of flashbacks (some of which would require younger actors doubling for the stars). Either technique is prone to be more disruptive of the narrative flow, and therefore justifiable only in rarer instances where such information proves crucial, rather than merely useful, to the main narrative thrust. There are other ways, though, in which comparison of these three texts highlights the relative strengths of the different media in stimulating the response of their viewers or readers. One of these is the handling of audiovisual spectacle. It perhaps goes without saying that the film elicits a far more visceral response during its action scenes. This is especially true of a climactic sequence in which Caulfield and cropduster pilot Albain (Telly Savalas) do aerial battle with two helicopters as each strives to be the first to reach the fugitive Brubaker. Ross is far more successful than Goulart in conveying the excitement of this scene, although even his version pales in comparison with the movie. A device on which the film regularly draws, both in order to heighten tension and so as to suggest dramatic or ironic parallels between different narrative strands, is that of cross-cutting. This technique is adapted by each of the novelisers, who use it in a diluted form. Each of the books subdivides its chapters into many segments, which are often much shorter than those found in conventional novels. Ross uses ninety such segments and Goulart sixty-seven. The shortest of these, by Ross, is a solitary sentence sitting amidst a sea of white space, in which he signals the cancellation of the plan to reunite the astronauts with their shuttle at the projected splashdown site: “High over the Pacific Ocean, the Falcon jet went into a tight banking turn and began to head back the way it had come” (116). Neither author, however, has the audacity to cut between locations with the speed that the film does. One of the movie’s most effective sequences is that in which rapid edits alternate between Kelloway solemnly announcing the fictive death of the astronauts to the press and the astronauts sitting in their hideaway imagining this very eulogy. Neither one of the novelisations succeeds in creating a sequence quite so biting in its satire. In this case study we are able to observe some of the ways in which films and novelisations can relate to one another, each providing a reading of the film script (or scripts) that, through a mutual interlocking in the mind of the reader versed in these multiple versions of the tale, can contribute to an experience of the narrative that is richer than one text alone can produce. Robert Block, who has written both novelisations and original novels, alleges that “the usual rule seems to be that while films can widely and wildly deviate from previously-published-and-purchased novels, a novelisation cannot supersede a screenplay in terms of content” (Larson, 44). Whereas this assertion describes with reasonable accuracy the approach that Ron Goulart has taken to his version of Capricorn One, the more ambitious and detailed story told by Bernard Ross provides one clear exception to this rule. It thus offers firm evidence that novelisations are not, by their very nature, merely impoverished derivations of the cinema. Instead they constitute a medium capable of original and intrinsic value and which fully deserves more detailed critical appreciation than its current reputation suggests. References Coe, Jonathan. 9th and 13th. London: Penguin Books, 2005. Goulart, Ron. Capricorn One. New York: Fawcett Gold Medal, 1978. Hutcheon, Linda. A Theory of Adaptation. New York: Routledge, 2006. Larson, Randall D. Films into Books: An Analytical Bibliography of Film Novelizations, Movie, and TV Tie-Ins. London: Scarecrow Press, 1995. Ross, Bernard L. Capricorn One. London: Futura, 1978. Tasker, Yvonne, The Silence of the Lambs. London: BFI, 2002. Citation reference for this article MLA Style Allison, Deborah. "Film/Print: Novelisations and Capricorn One." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/07-allison.php>. APA Style Allison, D. (May 2007) "Film/Print: Novelisations and Capricorn One," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/07-allison.php>.

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Art Imitating ArtThis article discusses the global, historical and literary references that are present in the video game franchise Bayonetta. In particular, references to Dante’s Divine Comedy, the works of Dr John Dee, and European traditions of witchcraft are examined. Bayonetta is modern in the sense that she is a woman of the world. Her character shows how history and literature may be used, re-used, and evolve into new formats, and how modern games travel abroad through time and space.Drawing creative inspiration from other works is nothing new. Ideas and themes, art and literature are frequently borrowed and recast. Carmel Cedro cites Northrop Frye in the example of William Shakespeare and Charles Dickens. These writers created stories and characters that have developed a level of acclaim and resonated with many individuals, resulting in countless homages over the years. The forms that these appropriations take vary widely. Media formats, such as film adaptations and even books, take the core characters or narrative from the original and re-work them into a different context. For example, the novel Treasure Island by Robert Louis Stevenson published in 1883 was adapted into the 2002 Walt Disney animated film Treasure Planet. The film maintained the concepts of the original narrative and retained key characters but re-imaged them to fit the science fiction genre (Clements and Musker).The video-game franchise Bayonetta draws inspiration from distinct sources creating the foundation for the universe and some plot points to enhance the narrative. The main sources are Dante’s Divine Comedy, the projections of John Dee and his mystical practices as well as the medieval history of witches.The Vestibule: The Concept of BayonettaFigure 1: Bayonetta Concept ArtBayonetta ConceptsThe concept of Bayonetta was originally developed by video game designer Hideki Kamiya, known previously for his work including The Devil May Cry and the Resident Evil game series. The development of Bayonetta began with Kamiya requesting a character design that included three traits: a female lead, a modern witch, and four guns. This description laid the foundations for what was to become the hack and slash fantasy heroine that would come to be known as Bayonetta. "Abandon all hope ye who enter here"The Divine Comedy, written by Dante Alighieri during the 1300s, was a revolutionary piece of literature for its time, in that it was one of the first texts that formalised the vernacular Italian language by omitting the use of Latin, the academic language of the time. Dante’s work was also revolutionary in its innovative contemplations on religion, art and sciences, creating a literary collage of such depth that it would continue to inspire hundreds of years after its first publication.Figure 2: Domenico di Michelino’s fresco of Dante and his Divine Comedy, surrounded by depictions of scenes in the textBayonetta explores the themes of The Divine Comedy in a variety of ways, using them as an obvious backdrop, along with subtle homages and references scattered throughout the game. The world of Bayonetta is set in the Trinity of Realities, three realms that co-exist forming the universe: Inferno, Paradiso and the Chaos realm—realm of humans—and connected by Purgitorio—the intersection of the trinity. In the game, Bayonetta travels throughout these realms, primarily in the realm of Purgitorio, the area in which magical and divine entities may conduct their business. However, there are stages within the game where Bayonetta finds herself in Paradiso and the human realm. This is a significant factor relating to The Divine Comedy as these realms also form the areas explored by Dante in his epic poem. The depth of these parallels is not exclusive to factors in Dante’s masterpiece, as there are also references to other art and literature inspired by Dante’s legacy. For example, the character Rodin in Bayonetta runs a bar named “The Gates of Hell.” In 1917 French artist Auguste Rodin completed a sculpture, The Gates of Hell depicting scenes and characters from The Divine Comedy. Rodin’s bar in Bayonetta is manifested as a dark impressionist style of architecture, with an ominous atmosphere. In early concept art, the proprietor of the bar was to be named Mephisto (Kamiya) derived from “Mephistopheles”, another name for the devil in some mythologies. Figure 3: Auguste Rodin's Gate of Hell, 1917Aspects of Dante’s surroundings and the theological beliefs of his time can be found in Bayonetta, as well as in the 2013 anime film adaptation Bayonetta, Bloody Fate. The Christian virtues, revered during the European Middle Ages, manifest themselves as enemies and adversaries that Bayonetta must combat throughout the game. Notably, the names of the cardinal virtues serve as “boss ranked” foes. Enemies within a game, usually present at the end of a level and more difficult to defeat than regular enemies within “Audito Sphere” of the “Laguna Hierarchy” (high levels of the hierarchy within the game), are named in Italian; Fortitudo, Temperantia, Lustitia, and Sapientia. These are the virtues of Classical Greek Philosophy, and reflect Dante’s native language as well as the impact the philosophies of Ancient Greece had on his writings. The film adaption of Bayonetta incorporated many elements from the game. To adjust the game effectively, it was necessary to augment the plot in order to fit the format of this alternate media. As it was no longer carried by gameplay, the narrative became paramount. The diverse plot points of the new narrative allowed for novel possibilities for further developing the role of The Divine Comedy in Bayonetta. At the beginning of the movie, for example, Bayonetta enters as a nun, just as she does in the game, only here she is in church praying rather than in a graveyard conducting a funeral. During her prayer she recites “I am the way into the city of woe, abandon all hope, oh, ye who enter here,” which is a Canto of The Divine Comedy. John Dee and the AngelsDr John Dee (1527—1608), a learned man of Elizabethan England, was a celebrated philosopher, mathematician, scientist, historian, and teacher. In addition, he was a researcher of magic and occult arts, as were many of his contemporaries. These philosopher magicians were described as Magi and John Dee was the first English Magus (French). He was part of a school of study within the Renaissance intelligensia that was influenced by the then recently discovered works of the gnostic Hermes Trismegistus, thought to be of great antiquity. This was in an age when religion, philosophy and science were intertwined. Alchemy and chemistry were still one, and astronomers, such as Johannes Kepler and Tyco Brahe cast horoscopes. John Dee engaged in spiritual experiments that were based in his Christian faith but caused him to be viewed in some circles as dangerously heretical (French).Based on the texts of Hermes Trismegistas and other later Christian philosophical and theological writers such as Dionysius the Areopagite, Dee and his contemporaries believed in celestial hierarchies and levels of existence. These celestial hierarchies could be accessed by “real artificial magic,” or applied science, that included mathematics, and the cabala, or the mystical use of permutations of Hebrew texts, to access supercelestial powers (French). In his experiments in religious magic, Dee was influenced by the occult writings of Heinrich Cornelius Agrippa (1486—1535). In Agrippa’s book, De Occulta Philosophia, there are descriptions for seals, symbols and tables for summoning angels, to which Dee referred in his accounts of his own magic experiments (French). Following his studies, Dee constructed a table with a crystal placed on it. By use of suitable rituals prescribed by Agrippa and others, Dee believed he summoned angels within the crystal, who could be seen and conversed with. Dee did not see these visions himself, but conversed with the angels through a skryer, or medium, who saw and heard the celestial beings. Dee recorded his interviews in his “Spiritual Diaries” (French). Throughout Bayonetta there are numerous seals and devices that would appear to be inspired by the work of Dee or other Renaissance Magi.In these sessions, John Dee, through his skryer Edward Kelley, received instruction from several angels. The angels led him to believe he was to be a prophet in the style of the biblical Elijah or, more specifically like Enoch, whose prophesies were detailed in an ancient book that was not part of the Bible, but was considered by many scholars as divinely inspired. As a result, these experiments have been termed “Enochian conversations.” The prophesies received by Dee foretold apocalyptic events that were to occur soon and God’s plan for the world. The angels also instructed Dee in a system of magic to allow him to interpret the prophesies and participate in them as a form of judge. Importantly, Dee was also taught elements of the supposed angelic language, which came to be known as “Enochian” (Ouellette). Dee wrote extensively about his interviews with the angels and includes statements of their hierarchy (French, Ouellette). This is reflected in the “Laguna Hierarchy” of Bayonetta, sharing similarities in name and appearance of the angels Dee had described. Platinum Games creative director Jean-Pierre Kellams acted as writer and liaison, assisting the English adaptation of Bayonetta and was tasked by Hideki Kamiya to develop Bayonetta’s incantations and subsequently the language of the angels within the game (Kellams).The Hammer of WitchesOne of the earliest and most integral components of the Bayonetta franchise is the fact that the title character is a witch. Witches, sorcerers and other practitioners of magic have been part of folklore for centuries. Hideki Kamiya stated that the concept of” classical witches” was primarily a European legend. In order to emulate this European dimension, he had envisioned Bayonetta as having a British accent which resulted in the game being released in English first, even though Platinum Games is a Japanese company (Kamiya). The Umbra Witch Clan hails from Europe within the Bayonetta Universe and relates more closely to the traditional European medieval witch tradition (Various), although some of the charms Bayonetta possesses acknowledge the witches of different parts of the world and their cultural context. The Evil Harvest Rosary is said to have been created by a Japanese witch in the game. Bayonetta herself and other witches of the game use their hair as a conduit to summon demons and is known as “wicked weaves” within the game. She also creates her tight body suit out of her hair, which recedes when she decides to use a wicked weave. Using hair in magic harks back to a legend that witches often utilised hair in their rituals and spell casting (Guiley). It is also said that women with long and beautiful hair were particularly susceptible to being seduced by Incubi, a form of demon that targets sleeping women for sexual intercourse. According to some texts (Kramer), witches formed into the beings that they are through consensual sex with a devil, as stated in Malleus Maleficarum of the 1400s, when he wrote that “Modern Witches … willingly embrace this most foul and miserable form of servitude” (Kramer). Bayonetta wields her sexuality as proficiently as she does any weapon. This lends itself to the belief that women of such a seductive demeanour were consorts to demons.Purgitorio is not used in the traditional sense of being a location of the afterlife, as seen in The Divine Comedy, rather it is depicted as a dimension that exists concurrently within the human realm. Those who exist within this Purgitorio cannot be seen with human eyes. Bayonetta’s ability to enter and exit this space with the use of magic is likened to the myth that witches were known to disappear for periods of time and were purported to be “spirited away” from the human world (Kamiya).Recipes for gun powder emerge from as early as the 1200s but, to avoid charges of witchcraft due to superstitions of the time, they were hidden by inventors such as Roger Bacon (McNab). The use of “Bullet Arts” in Bayonetta as the main form of combat for Umbra Witches, and the fact that these firearm techniques had been honed by witches for centuries before the witch hunts, implies that firearms were indeed used by dark magic practitioners until their “discovery” by ordinary humans in the Bayonetta universe. In addition to this, that “Lumen Sages” are not seen to practice bullet arts, builds on the idea of guns being a practice of black magic. “Lumen Sages” are the Light counterpart and adversaries of the Umbra Witches in Bayonetta. The art of Alchemy is incorporated into Bayonetta as a form of witchcraft. Players may create their own health, vitality, protective and mana potions through a menu screen. This plays on the taboo of chemistry and alchemy of the 1500s. As mentioned, John Dee's tendency to dabble in such practices was considered by some to be heretical (French, Ouellette).Light and dark forces are juxtaposed in Bayonetta through the classic adversaries, Angels and Demons. The moral flexibility of both the light and dark entities in the game leaves the principles of good an evil in a state of ambiguity, which allows for uninhibited flow in the story and creates a non-linear and compelling narrative. Through this non-compliance with the pop culture counterparts of light and dark, gamers are left to question the foundations of old cultural norms. This historical context lends itself to the Bayonetta story not only by providing additional plot points, but also by justifying the development decisions that occur in order to truly flesh out Bayonetta’s character.ConclusionCompelling story line, characters with layered personality, and the ability to transgress boundaries of time and travel are all factors that provide a level of depth that has become an increasingly important aspect in modern video gameplay. Gamers love “Easter eggs,” the subtle references and embellishments scattered throughout a game that make playing games like Bayonetta so enjoyable. Bayonetta herself is a global traveller whose journeying is not limited to “abroad.” She transgresses cultural, time, and spatial boundaries. The game is a mosaic of references to spatial time dimensions, literary, and historical sources. This mix of borrowings has produced an original gameplay and a unique storyline. Such use of literature, mythology, and history to enhance the narrative creates a quest game that provides “meaningful play” (Howard). This process of creation of new material from older sources is a form of renewal. As long as contemporary culture presents literature and history to new audiences, the older texts will not be forgotten, but these elements will undergo a form of renewal and restoration and the present-day culture will be enhanced as a result. In the words of Bayonetta herself: “As long as there’s music, I’ll keep on dancing.”ReferencesCedro, Carmel. "Dolly Varden: Sweet Inspiration." Australasian Journal of Popular Culture 2.1 (2012): 37-46. French, Peter J. John Dee: The World of an Elizabethan Magus. London: London, Routledge and K. Paul, 1972. Guiley, Rosemary. The Encyclopedia of Demons and Demonology. Infobase Publishing, 2009. Howard, Jeff. Quests: Design, Theory, and History in Games and Narratives. Wellesley, Mass.: A.K. Peters, 2008. Kamiya, Hideki.Bayonetta. Bayonetta. Videogame. Sega, Japan, 2009.Kellams, Jean-Pierre. "Butmoni Coronzon (from the Mouth of the Witch)." Platinum Games 2009.Kramer, Heinrich. The Malleus Maleficarum of Heinrich Kramer and James Sprenger. Eds. Sprenger, Jakob, or joint author, and Montague Summers. New York: Dover, 1971.McNab, C. Firearms: The Illustrated Guide to Small Arms of the World. Parragon, 2008.Ouellette, Francois. "Prophet to the Elohim: John Dee's Enochian Conversations as Christian Apocalyptic Discourse." Master of Arts thesis. ProQuest Dissertations Publishing, 2004.Treasure Planet. The Walt Disney Company, 2003.Various. "Bayonetta Wikia." 2016.

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Could we also imagine a language in which a person could write down or give vocal expression to his inner experiences -- his feelings, moods, and the rest -- for his private use? Well, can't we do so in our ordinary language? -- But that is not what I mean. The individual words of this language are to refer to what can only be known to the person speaking; to his immediate private sensations. So another person cannot understand the language. -- Ludwig Wittgenstein, Philosophical Investigations par. 243 I will be using 'audience' in two ways in the following essay: as a phenomenon that produces and is produced by media technologies (readers, hearers, viewers, Internet-users), and as something, audiens, that is essential to language itself, something without which language cannot be. I shall do so in specific references to invented languages. Who, then, are the 'consumers' of invented languages? In referring to invented languages, I am not talking about speakers of Esperanto or Occidental; I am not concerned with the invention of international auxiliary languages. These projects, already well-debated, have roots that go back at least as far as the 17th-century language philosophers who were at pains to undo the damage of Babel and restore a common language to the world. While Esperanto never became what it intended to be, it at least has readers and speakers. I am also not even talking about speakers of Klingon or Quenya. These privately invented languages have had the good fortune to be attached to popular invented cultures, and to media with enough money and publicity to generate a multitude of fans. Rather, I am talking about a phenomenon on the Internet and in a well- populated listserv whereby a number of people from all over the globe have discovered each other on-line. They all have a passion for what Jeffrey Schnapp calls uglossia ('no-language', after utopia, 'no-place'). Umberto Eco calls it 'technical insanity' or glottomania. Linguist Marina Yaguello calls language inventors fous du langage ('language lunatics') in her book of the same title. Jeffrey Henning prefers the term 'model language' in his on-line newsletter: 'miniaturized versions that provide the essence of something'. On CONLANG, people call themselves conlangers (from 'constructed language') and what they do conlanging. By forming this list, they have created a media audience for themselves, in the first sense of the term, and also literally in the second sense, as a number of them are setting up soundbytes on their elaborately illustrated and explicated Webpages. Originally devoted to advocates for international auxiliary languages, CONLANG started out about eight years ago, and as members joined who were less interested in the politics than in the hobby of language invention, the list has become almost solely the domain of the latter, whereas the 'auxlangers', as they are called, have moved to another list. An important distinguishing feature of 'conlangers' is that, unlike the 'auxlangers', there is no sustained hope that their languages will have a wide-body of hearers or users. They may wish it, but they do not advocate for it, and as a consequence their languages are free to be a lot weirder, whereas the auxlangs tend to strive for regularity and useability. CONLANG is populated by highschool, college, and graduate students; linguists; computer programmers; housewives; librarians; professors; and other users worldwide. The old debate about whether the Internet has become the 'global village' that Marshall McLuhan predicted, or whether it threatens to atomise communication 'into ever smaller worlds where enthusiasms mutate into obsessions', as Jeff Salamon warns, seems especially relevant to a study of CONLANG whose members indulge in an invention that by its very nature excludes the casual listener-in. And yet the audio-visual capacities of the Internet, along with its speed and efficiency of communication, have made it the ideal forum for conlangers. Prior to the Web, how were fellow inventors to know that others were doing -- in secret? J.R.R. Tolkien has been lauded as a rare exception in the world of invention, but would his elaborate linguistic creations have become so famous had he not published The Lord of the Rings and its Appendix? Poignantly, he tells in "A Secret Vice" about accidentally overhearing another army recruit say aloud: 'Yes! I think I shall express the accusative by a prefix!'. Obviously, silent others besides Tolkien were inventing languages, but they did not have the means provided by the Internet to discover one another except by chance. Tolkien speaks of the 'shyness' and 'shame' attached to this pursuit, where 'higher developments are locked in secret places'. It can win no prizes, he says, nor make birthday presents for aunts. His choice of title ("A Secret Vice") echoes a Victorian phrase for the closet, and conlangers have frequently compared conlanging to hom*osexuality, both being what conservative opinion expects one to grow out of after puberty. The number of gay men on the list has been wondered at as more than coincidental. In a survey I conducted in October 1998, many of the contributors to CONLANG felt that the list put them in touch with an audience that provided them with intellectual and emotional feedback. Their interests were misunderstood by parents, spouses, lovers, and employers alike, and had to be kept under wraps. Most of those I surveyed said that they had been inventing a language well before they had heard of the list; that they had conceived of what they were doing as unique or peculiar, until discovery of CONLANG; and that other people's Websites astounded them with the pervasive fascination of this pursuit. There are two ways to look at it: conlanging, as Henning writes, may be as common and as humanly creative as any kind of model-making, i.e., dollhouses, model trains, role-playing, or even the constructed cultures with city plans and maps in fantasy novels such as Terry Pratchett's Discworld. The Web is merely a means to bring enthusiasts together. Or it may provide a site that, with the impetus of competition and showmanship, encourages inutile and obsessive activity. Take your pick. From Hildegard von Bingen's Lingua Ignota to Dante's Inferno and the babbling Nimrod to John Dee's Enochian and on, invented languages have smacked of religious ecstacy, necromancy, pathology, and the demonic. Twin speech, or 'pathological idioglossia', was dramatised by Jodie Foster in Nell. Hannah Green's 'Language of Yr' was the invention of her schizophrenic protagonist in I Never Promised You a Rose Garden. Language itself is the centre of furious theoretical debate. Despite the inventive 'deformities' it is put to in poetry, punning, jest, singing, and lying, human language, our most 'natural' of technologies, is a social machine, used by multitudes and expected to get things done. It is expected of language that it be understood and that it have not only hearers but also answerers. All human production is founded on this assumption. A language without an audience of other speakers is no language. 'Why aren't you concentrating on real languages?' continues to be the most stinging criticism. Audience is essential to Wittgenstein's remark quoted at the beginning of this essay. Wittgenstein posits his 'private languages theory' as a kind of impossibility: all natural languages, because they exist by consensus, can only refer to private experience externally. Hence, a truly private language, devoted to naming 'feelings and moods' which the subject has never heard about or shared with others, is impossible among socialised speakers who are called upon to define subjective experience in public terms. His is a critique of solipsism, a charge often directed at language inventors. But very few conlangers that I have encountered are making private languages in Wittgenstein's sense, because most of them are interested in investing their private words with public meaning, even when they are doing it privately. For them, it is audience, deeply desireable, that has been impossible until now. Writing well before the development of CONLANG, Yaguello takes the stance that inventing a language is an act of madness. 'Just look at the lunatic in love with language', she writes: sitting in his book-lined study, he collects great piles of information, he collates and classifies it, he makes lists and fills card indexes. He is in the clutches of a denominatory delirium, of a taxonomic madness. He has to name everything, but before being able to name, he has to recognize and classify concepts, to enclose the whole Universe in a system of notation: produce enumerations, hierarchies, and paradigms. She is of course describing John Wilkins, whose Real Character and Universal Language in 1668 was an attempt to make each syllable of his every invented word denote its placement in a logical scheme of classification. 'A lunatic ambition', Yaguello pronounces, because it missed the essential quality of language: that its signs are arbitrary, practical, and changeable, so as to admit neologism and cultural difference. But Yaguello denounces auxiliary language makers in general as amateurs 'in love with language and with languages, and ignorant of the science of language'. Her example of 'feminine' invention comes from Helene Smith, the medium who claimed to be channeling Martian (badly disguised French). One conlanger noted that Yaguello's chapter entitled 'In Defence of Natural Languages' reminded him of the US Federal 'Defense of Marriage Act', whereby the institution of heterosexual marriage is 'defended' from hom*osexual marriage. Let hom*osexuals marry or lunatics invent language, and both marriage and English (or French) will come crashing to the ground. Schnapp praises Yaguello's work for being the most comprehensive examination of the phenomenon to date, but neither he nor she addresses linguist Suzette Haden Elgin's creative work on Láadan, a language designed for women, or even Quenya or Klingon -- languages that have acquired at least an audience of readers. Schnapp is less condemnatory than Yaguello, and interested in seeing language inventors as the 'philologists of imaginary worlds', 'nos semblables, nos frères, nos soeurs' -- after all. Like Yaguello, he is given to some generalities: imaginary languages are 'infantile': 'the result is always [my emphasis] an "impoverishment" of the natural languages in question: reduced to a limited set of open vowels [he means "open syllables"], prone to syllabic reduplication and to excessive syntactical parallelisms and symmetries'. To be sure, conlangs will never replicate the detail and history of a real language, but to call them 'impoverishments of the natural languages' seems as strange as calling dollhouses 'impoverishments of actual houses'. Why this perception of threat or diminishment? The critical, academic "audience" for language invention has come largely from non-language inventors and it is woefully uninformed. It is this audience that conlangers dislike the most: the outsiders who cannot understand what they are doing and who belittle it. The field, then, is open to re-examination, and the recent phenomenon of conlanging is evidence that the art of inventing languages is neither lunatic nor infantile. But if one is not Tolkien or a linguist supported by the fans of Star Trek, how does one justify the worthwhile nature of one's art? Is it even art if it has an audience of one ... its artist? Conlanging remains a highly specialised and technical pursuit that is, in the end, deeply subjective. Model builders and map-makers can expect their consumers to enjoy their products without having to participate in the minutia of their building. Not so the conlanger, whose consumer must internalise it, and who must understand and absorb complex linguistic concepts. It is different in the world of music. The Cocteau Twins, Bobby McFerrin in his Circle Songs, Lisa Gerrard in Duality, and the new group Ekova in Heaven's Dust all use 'nonsense' words set to music -- either to make songs that sound like exotic languages or to convey a kind of melodic glossolalia. Knowing the words is not important to their hearers, but few conlangers yet have that outlet, and must rely on text and graphs to give a sense of their language's structure. To this end, then, these are unheard, unaudienced languages, existing mostly on screen. A few conlangers have set their languages to music and recorded them. What they are doing, however, is decidedly different from the extempore of McFerrin. Their words mean something, and are carefully worked out lexically and grammatically. So What Are These Conlangs Like? On CONLANG and their links to Websites you will find information on almost every kind of no-language imaginable. Some sites are text only; some are lavishly illustrated, like the pages for Denden, or they feature a huge inventory of RealAudio and MP3 files, like The Kolagian Languages, or the songs of Teonaht. Some have elaborate scripts that the newest developments in fontography have been able to showcase. Some, like Tokana and Amman-Iar, are the result of decades of work and are immensely sophisticated. Valdyan has a Website with almost as much information about the 'conculture' as the conlang. Many are a posteriori languages, that is, variations on natural languages, like Brithenig (a mixture of the features of Brythonic and Romance languages); others are a priori -- starting from scratch -- like Elet Anta. Many conlangers strive to make their languages as different from European paradigms as possible. If imaginary languages are bricolages, as Schnapp writes, then conlangers are now looking to Tagalog, Basque, Georgian, Malagasay, and Aztec for ideas, instead of to Welsh, Finnish, and Hebrew, languages Tolkien drew upon for his Elvish. "Ergative" and "trigger" languages are often preferred to the "nominative" languages of Europe. Some people invent for sheer intellectual challenge; others for the beauty and sensuality of combining new and privately meaningful sounds. There are many calls for translation exercises, one of the most popular being 'The Tower of Babel' (Genesis 10: 1-9). The most recent innovation, and one that not only showcases these languages in all their variety but provides an incentive to learn another conlanger's conlang, is the Translation Relay Game: someone writes a short poem or composition in his or her language and sends it with linguistic information to someone else, who sends a translation with directions to the next in line all the way around again, like playing 'telephone'. The permutations that the Valdyan Starling Song went through give good evidence that these languages are not just relexes, or codes, of natural languages, but have their own linguistic, cultural, and poetic parameters of expression. They differ from real languages in one important respect that has bearing on my remarks about audience: very few conlangers have mastered their languages in the way one masters a native tongue. These creations are more like artefacts (several have compared it to poetry) than they are like languages. One does not live in a dollhouse. One does not normally think or speak in one's conlang, much less speak to another, except through a laborious process of translation. It remains to a longer cultural and sociolinguistic study (underway) to tease out the possibilities and problems of conlanging: why it is done, what does it satisfy, why so few women do it, what are its demographics, or whether it can be turned to pedagogical use in a 'hands-on', high- participation study of language. In this respect, CONLANG is one of the 'coolest' of on-line media. Only time will show what direction conlanging and attitudes towards it will take as the Internet becomes more powerful and widely used. Will the Internet democratise, and eventually make banal, a pursuit that has until now been painted with the romantic brush of lunacy and secrecy? (You can currently download LangMaker, invented by Jeff Henning, to help you construct your own language.) Or will it do the opposite and make language and linguistics -- so often avoided by students or reduced in university programs -- inventive and cutting edge? (The inventor of Tokana has used in-class language invention as a means to study language typology.) Now that we have it, the Internet at least provides conlangers with a place to hang their logodaedalic tapestries, and the technology for some of them to be heard. References Von Bingen, Hildegard. Lingua Ignota, or Wörterbuch der unbekannten Sprache. Eds. Marie-Louise Portmann and Alois Odermatt. Basel: Verlag Basler Hildegard-Gesellschaft, 1986. Eco, Umberto. The Search for the Perfect Language. Trans. James Fentress. Oxford, England, and Cambridge, Mass.: Blackwell, 1995, 1997. Elgin, Suzette Haden. A First Dictionary and Grammar of Láadan. Madison, WI: Society for the Furtherance and Study of Fantasy and Science- Fiction, 1985. Henning, Jeffrey. Model Languages: The Newsletter Discussing Newly Imagined Words for Newly Imagined Worlds. <http://www.Langmaker.com/ml00.htm>. Kennaway, Richard. Some Internet Resources Relating to Constructed Languages. <http://www.sys.uea.ac.uk/jrk/conlang.php>. (The most comprehensive list (with links) of invented languages on the Internet.) Layco*ck, Donald C. The Complete Enochian Dictionary: A Dictionary of the Angelic Language as Revealed to Dr. John Dee and Edward Kelley. York Beach, Maine: Samuel Weiser, 1994. McLuhan, Marshall. Understanding Media. Reprinted. Cambridge, MA: MIT P, 1994. Salamon, Jeff. "Revenge of the Fanboys." Village Voice 13 Sep., 1994. Schnapp, Jeffrey. "Virgin Words: Hildegard of Bingen's Lingua Ignota and the Development of Imaginary Languages Ancient and Modern." Exemplaria 3.2 (1991): 267-98. Tolkien, J.R.R. "A Secret Vice." The Monsters and the Critics and Other Essays. Ed. Christopher Tolkien. Boston: Houghton Mifflin, 1984. 198-223. Wilkins, John. An Essay Towards a Real Character and a Philosophical Language. Presented to the Royal Society of England in 1668. Wittgenstein, Ludwig. Philosophical Investigations. 3rd ed. Trans. G.E.M. Anscombe. Englewood Cliffs, NJ: Prentice Hall, 1958. Yaguello, Marina. Lunatic Lovers of Language: Imaginary Languages and Their Inventors. Trans. Catherine Slater. (Les fous du langage. 1985.) London: The Athlone Press, 1991. Citation reference for this article MLA style: Sarah L. Higley. "Audience, Uglossia, and CONLANG: Inventing Languages on the Internet." M/C: A Journal of Media and Culture 3.1 (2000). [your date of access] <http://www.uq.edu.au/mc/0003/languages.php>. Chicago style: Sarah L. Higley, "Audience, Uglossia, and CONLANG: Inventing Languages on the Internet," M/C: A Journal of Media and Culture 3, no. 1 (2000), <http://www.uq.edu.au/mc/0003/languages.php> ([your date of access]). APA style: Sarah L. Higley. (2000) Audience, Uglossia, and CONLANG: Inventing Languages on the Internet. M/C: A Journal of Media and Culture 3(1). <http://www.uq.edu.au/mc/0003/languages.php> ([your date of access]).

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Researchers increasingly exercise reflexivity with regard to their personal locations, research participants or chosen methodology. However reflexivity about the process of researching as a group, about what shapes research relations between researchers that are often colleagues and friends, seldom happens (Bryan 335, McGinn 559). This may be because writing one’s interpretation of what happened during the collaborative process is risky: as I critically assess the strategies we used inside the semi-private space of collaboration, I also publicly expose the power relations inside and outside of our collaborative practice. The context of our collaboration in a western academic institution as well as the differences between collaborate members (experiential, hierarchical, pedagogical) both structured and enriched our collaboration in specific ways as I will discuss later. The transformative potential of collaboration was critically emphasised in an article that ensued from our research (WASS Collective) and this led me to consider how the alternative forms of student/staff interaction that took place in our project can be seen as simultaneously challenging and reinforcing the disciplinary and hierarchical boundaries that structure higher education. This article, then, focuses on analytical reflections about the ways in which the powerful structures of higher education (enacted here through hierarchies of expertise) and practices of academia (particularly publication procedures) concurrently shape the transformative potential of ‘collaboration’ both as a research and a pedagogic strategy. The collaborative project this article draws on took place in and was funded by the Reinvention Centre, University of Warwick during October-December 2005 and was concerned with feminist activism in Higher Education. We were investigating the transformative potential of gender activism inside the ‘Warwick Anti-sexism Society’. As members of that society ourselves, we were sometimes researching ourselves. The initial decision to make the project collaborative was partly linked to the aims of the Reinvention Centre, which encourages students to become research active and, where possible, to reinvent the spaces in which learning takes place, but was also a reflection of our commitment to feminist ways of working. (Luke and Gore, Peck and Mink) The research collaborate was constituted of staff (2), postgraduates (4) and undergraduates (4) from a range of disciplines (English History, Sociology, Philosophy, Politics) who contributed to the research design, data gathering and analysis of the materials. The end of the project culminated in the submission of an article about our findings to an online sociology journal. As feminist activists, our understanding of ‘collaboration’ was rooted in principles of shared responsibility, equal participation, and a commitment to dialogic exchange as a strategy for change. The rationale for opting for a collaborative strategy was twofold: firstly to contest the usual practices of higher education research and secondly to enrich the research process through engaging multiple voices. This was reflected in how the research was conducted: tasks of data gathering were divided and agreed on according to personal preferences and skills-based expertise so that the workload was equalized and meetings were arranged on a weekly basis to share feedback on the research process and findings, as well as our thoughts on emergent themes, in a challenging yet supportive atmosphere. The final period of collaboration involved analysing data during a day-long group work session, and the writing-up stages included suggested amendments to the final draft from collaborating members. Our collaborative project, as an alternative learning and research strategy, challenged higher education hierarchies and practices in many ways, however, here we will focus on two of its most significant achievements. Firstly, our joint participation in a project regardless of our different locations, both disciplinarily and hierarchically, was disrupting the usual ways in which academic learning usually takes place (mostly through lectures or seminars), thus contesting the structural divide between students and academics, and therefore challenging the institutional framework of the university. Moreover, this challenge to the pedagogic exchange also disrupted the unequal power relations usually at play in typical classroom interaction: in our group discussions opinions were taken into account outside of the framework of reporting to, or seeking approval from an educator, but more in the context of dialogue as a learning strategy (Morley and Walsh). This was especially apparent in the last analytical phase of the project, where our creative voices were both in creative tension with another, whilst seeking to find ways to articulate our differences without losing the essence of the argument. Our egalitarian vision of collaboration was adhered to through to the last stage of our research and impacted on decisions about the authorship of the article we were submitting for publication. Although our names all appear on the paper, we opted for a collaborative name that reflected our affiliation with the student society that we were also researching: thus, the author of the paper became the Warwick Anti-Sexism Society Collective. We considered the option of listing our names alphabetically with et al. next to the first name, but felt that it would not reflect adequately our conceptualization of collaboration. Acquiring credit for research and publications is key to gaining academic achievement and is often a resource that is scarce for junior researchers and even more so for undergraduates. Our project, and particularly the decisions made with regard to authorship, successfully challenged the hierarchies of academia: our strategy of sharing credit uniformly for the research between academic staff and students enabled us to contest the prevalent practice of senior researchers being credited as the main authors. This also allowed us to shift the power distribution in the university in general by introducing and advocating a research practice whose rationale centres around students and junior researchers being recognised as authors on their own terms. As suggested, our collaboration was also constrained by the organisation and practices of higher education and in this sense, our research can be seen as highlighting the power structures of academia: ‘Throughout this research project, we have been forced to reflect on how we develop and implement praxis within and through the powerful hierarchies of academia.’ (WASS Collective 8) Reflecting on the wider constraints that structured our research output also helps to identify which factors are still limiting the transformative potential of collaboration. The first way in which our collaboration reinforced existing structures within academia was reflected in our collaborative discussions. Although power relations are inherent within any research process, considering how they are organised can shed light on how certain types of expression come to be privileged. The dialogic learning exchange that took place during group sessions enabled certain types of ‘dominant’ skills that are prevalent in higher education to become the main communicative strategy; this in turn allowed group members who were familiar with certain academic practices and therefore proficient in these skills to have more input in the generation of knowledge from the data. The hegemony of ‘dominant’ skills such as assertiveness, leadership, and rhetorical expertise continues to be part of the ways in which academia is structured through “the replication of taken-for-granted forms of dialogue and exclusion” (Knights 136). This is played out in day-to-day pedagogic practices where students are judged, and sometimes assessed on, their participation in seminars and performance in presentations (Fejes 31), but where listening and facilitating skills continue to be undervalued. In this sense the limits of our collaboration in creating innovative learning strategies lie right at the centre of our practice so that the communicative tools we used to collaborate were instrumental in partly reinstating the hierarchies of knowledge production (Mahony et al.). Our project can, however, also be seen as reinforcing existing hierarchies within academia because of the allocation of tasks during the research process. While all students (undergraduate and postgraduate) were involved in gathering data for the research, the members of staff were involved in the writing of the article and the production of a final draft that was open to amendments by all members of the collaborate before submission. This meant that responsibility was not divided equally between us, and that participation was not as egalitarian as we had hoped. While I am not implying the superiority of some part of the research process, it is clear that the development of high quality writing skills is key to establishing one’s position within academia. It could be argued that allowing for participants to develop and improve certain skills by matching them to specific tasks appeared to be connected to an already existing hierarchy. However, the writing strategy we adopted managed to partly resolve this division of labour issue. All members could suggest amendments to a draft crafted by the two staff members, changes were then discussed by all collaborate members via e-mail and eventually some agreed revisions were included into a later draft by the academic staff. This strategy not only allowed all members to have dialogic input into the article, but also formed part of a pedagogic exchange where junior researchers were part of the process of developing writing skills for publication purposes and gained insights into the craft of academic writing. This was developed through modelling best practice of the writing process: crafting notes of a joint thinking session into a first coherent draft of the article. The most significant constraint to the transformative potential of collaboration was the pressure of working towards a publishable piece of research. This was partly because of the contrast between the quite independent data gathering stages of the research and the more intensely collaborative writing-up stage. Most importantly publishing constraints impacted on our project in powerful ways. Firstly, we found that both the word limit and the format of the article restricted and sometimes erased the interesting complications and differences that were at the heart of our collaboration. For example, our different analyses of the data gathered were partly simplified into one consistent story, to preserve the coherence of our argument but also because of space issues. The stylistic demands of traditional academic journals could not fully capture the messiness and creative tensions arising from collaborative work. Disordered exchanges and mixed up thoughts were at the heart of the collaboration and in many ways created the fuel for the article. For instance, the process of collaboratively crafting a theoretical framework for the article proved a challenging and complex exercise whose strength lay in its emergence from differences and disorder, we were not able to render this fully in writing. The enterprise of publishing our research was also connected to and strengthened already existing academic structures and practices. For example, the likelihood of the article being accepted for publication relied at least partly on the expertise of academic staff and their familiarity with publication standards and procedures. The deadline-meeting pressure of producing an article meant that time constraints prevented us from producing the article through a joint writing session as we had initially planned. Even though we placed a high value on doing the research itself, as our project was geared towards a publication from the outset it was necessarily very much shaped by its demands. However, ways to alleviate these constraints could have been explored by employing alternative methods of reporting our research such as performances, fiction writing and diaries that may have allowed for a more comprehensive and multiple account of our research. Collaborative work between students and teachers is an empowering and difficult exercise that both strengthens and challenges the powerful hierarchies and practices of academia. In our case students’ learning and expertise have benefited from this project further through the continuation of the collaboration: members are currently involved in jointly revising the article according to referees’ report and are preparing papers that will be jointly presented at various UK postgraduate conferences this summer. Our project also revealed that practicing alternative strategies inside a single collaboration allowed for both expertise-led and student-led forms of work and enabled skills and merit to be more evenly distributed within academia. Most importantly, as we learnt through the production of an academic article, the incompatibility of this hierarchical vestige of academic practice with collective ways of working had powerful implications on our finished work. Hopefully this will constitute the site of future challenges to traditional practices in academia and will encourage alternative ways of producing publishable academic work. Notes Thank you to all members of the Wass collaborate for being supportive of my writing reflections about our project, and also for their insightful comments and encouragements about this piece. Thank you to Danny Beusch for his constructive and honest comments on an earlier draft of this article. References Bryan, L., et al. “Processing the Process: One Research Team’s Experience of a Collaborative Research Project.” Contemporary Family Therapy 24.2, (2002): 333-353. Fejes, Andreas et al. “Learning to Play the Seminar Game: Students’ Initial Encounters with a Basic Working Form in Higher Education.” Teaching in Higher Education 10.1(2005): 29-41. Knights, Ben. “Group Processes in Higher Education: The Uses of Theory.” Studies in Higher Education 20.2 (1995): 135-146. Luke, Carmen, and Jennifer Gore, eds. Feminisms and Critical Pedagogy. New York: Routledge, 1992. Mahony P., et al. “Threshold Assessment and Performance Management: Modernizing or Masculinizing Teaching in England?” Gender and Education 16. 2 (2004): 131-149. McGinn, Michelle, et al. “Living Ethics: A Narrative of Collaboration and Belonging in a Research Team.” Reflective Practice 6.4 (2005): 551-567. Morley, Louise, and Val Walsh. Feminist Academics: Creative Agents for Change. London: Taylor & Francis, 1995. Peck, Elizabeth, and Joanna Stevens Mink, eds. Common Ground: Feminist Collaboration in the Academy. Albany: State U of New York P, 1998. WASS Collective. “Gender Transformations in Higher Education.” Sociological Research Online 27.1 (2006). Citation reference for this article MLA Style Perrier, Maud. "Reflections on Practicing Student-Staff Collaboration in Academic Research: A Transformative Strategy for Change?." M/C Journal 9.2 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0605/08-perrier.php>. APA Style Perrier, M. (May 2006) "Reflections on Practicing Student-Staff Collaboration in Academic Research: A Transformative Strategy for Change?," M/C Journal, 9(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0605/08-perrier.php>.

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IntroductionWe five friends clinked glasses in our favourite wine and co*cktail bar, and considered our next collaborative writing project. We had seen M/C Journal’s call for articles for a special issue on ‘regional’ and when one of us mentioned the television program, Escape from the City, we began our critique:“They haven’t featured Armidale yet, but wouldn’t it be great if they did?”“Really? I mean, some say any publicity is good publicity but the few early episodes I’ve viewed seem to give little or no screen time to the sorts of lifestyle features I most value in our town.”“Well, seeing as we all moved here from the city ages ago, let’s talk about what made us stay?”We had found our next project.A currently popular lifestyle television show (Escape from the City) on Australia’s national public service broadcaster, the ABC, highlights the limitations of popular cultural representations of life in a regional centre. The program is targeted at viewers interested in relocating to regional Australia. As Raymond Boyle and Lisa Kelly note, popular television is an important entry point into the construction of public knowledge as well as a launching point for viewers as they seek additional information (65). In their capacity to construct popular perceptions of ‘reality’, televisual texts offer a significant insight into our understandings and expectations of what is going on around us. Similar to the concerns raised by Esther Peeren and Irina Souch in their analysis of the popular TV show Farmer Wants a Wife (a version set in the Netherlands from 2004–present), we worry that these shows “prevent important aspects of contemporary rural life from being seen and understood” (37) by the viewers, and do a disservice to regional communities.For the purposes of this article, we interrogate the episodes of Escape from the City screened to date in terms of the impact they may have on promoting regional Australia and speculate on how satisfied (or otherwise) we would be should the producers direct their lens onto our regional community—Armidale, in northern NSW. We start with a brief précis of Escape from the City and then, applying an autoethnographic approach (Butz and Besio) focusing on our subjective experiences, we share our reflections on living in Armidale. We blend our academic knowledge and knowledge of everyday life (Klevan et al.) to argue there is greater cultural diversity, complexity, and value in being in the natural landscape in regional areas than is portrayed in these representations of country life that largely focus on cheaper real estate and a five-minute commute.We employ an autoethnographic approach because it emphasises the socially and politically constituted nature of knowledge claims and allows us to focus on our own lives as a way of understanding larger social phenomena. We recognise there is a vast literature on lifestyle programs and there are many different approaches scholars can take to these. Some focus on the intention of the program, for example “the promotion of neoliberal citizenship through home investment” (White 578), while others focus on the supposed effect on audiences (Tsay-Vogel and Krakowiak). Here we only assert the effects on ourselves. We have chosen to blend our voices (Gilmore et al.) in developing our arguments, highlighting our single voices where our individual experiences are drawn on, as we argue for an alternative representation of regional life than currently portrayed in the regional ‘escapes’ of this mainstream lifestyle television program.Lifestyle TelevisionEscape from the City is one of the ‘lifestyle’ series listed on the ABC iview website under the category of ‘Regional Australia’. Promotional details describe Escape from the City as a lifestyle series of 56-minute episodes in which home seekers are guided through “the trials and tribulations of their life-changing decision to escape the city” (iview).Escape from the City is an example of format television, a term used to describe programs that retain the structure and style of those produced in another country but change the circ*mstances to suit the new cultural context. The original BBC format is entitled Escape to the Country and has been running since 2002. The reach of lifestyle television is extensive, with the number of programs growing rapidly since 2000, not just in the United Kingdom, but internationally (Hill; Collins). In Australia, they have completed, but not yet screened, 60 episodes of Escape from the City. However, with such popularity comes great potential to influence audiences and we argue this program warrants critical attention.Like House Hunters, the United States lifestyle television show (running since 1997), Escape from the City follows “a strict formula” (Loof 168). Each episode uses the same narrative format, beginning with an introduction to the team of experts, then introducing the prospective house buyers, briefly characterising their reasons for leaving the city and what they are looking for in their new life. After this, we are shown a map of the region and the program follows the ‘escapees’ as they view four pre-selected houses. As we leave each property, the cost and features are reiterated in the written template on the screen. We, the audience, wait in anticipation for their final decision.The focus of Escape from the City is the buying of the house: the program’s team of experts is there to help the potential ‘escapees’ find the real estate gem. Real estate value for money emerges as the primary concern, while the promise of finding a ‘life less ordinary’ as highlighted in the opening credits of the program each week, seems to fall by the wayside. Indeed, the representation of regional centres is not nuanced but limited by the emphasis placed on economics over the social and cultural.The intended move of the ‘escapees’ is invariably portrayed as motivated by disenchantment with city life. Clearly a bigger house and a smaller mortgage also has its hedonistic side. In her study of Western society represented in lifestyle shows, Lyn Thomas lists some of the negative aspects of city life as “high speed, work-dominated, consumerist” (680), along with pollution and other associated health risks. While these are mentioned in Escape from the City, Thomas’s list of the pleasures afforded by a simpler country life including space for human connection and spirituality, is not explored to any satisfying extent. Further, as a launching point for viewers in the city (Boyle and Kelly), we fear the singular focus on the price of real estate reinforces a sense of the rural as devoid of creative arts and cultural diversity with a focus on the productive, rather than the natural, landscape. Such a focus does not encourage a desire to find out more and undersells the richness of our (regional) lives.As Australian regional centres strive to circumvent or halt the negative impacts of the drift in population to the cities (Chan), lifestyle programs are important ‘make or break’ narratives, shaping the appeal and bolstering—or not—a decision to relocate. With their focus on cheaper real estate prices and the freeing up of the assets of the ‘escapees’ that a move to the country may entail, the representation is so focused on the economics that it is almost placeless. While the format includes a map of the regional location, there is little sense of being in the place. Such a limited representation does not do justice to the richness of regional lives as we have experienced them.Our TownLike so many regional centres, Armidale has much to offer and is seeking to grow (Armidale Regional Council). The challenges regional communities face in sustaining their communities is well captured in Gabriele Chan’s account of the city-country divide (Chan) and Armidale, with its population of about 25,000, is no exception. Escape from the City fails to emphasise cultural diversity and richness, yet this is what characterises our experience of our regional city. As long-term and satisfied residents of Armidale, who are keenly aware of the persuasive power of popular cultural representations (O’Sullivan and Sheridan; Sheridan and O’Sullivan), we are concerned about the trivialising or reductive manner in which regional Australia is portrayed.While we acknowledge there has not been an episode of Escape from the City featuring Armidale, if the characterisation of another, although larger, regional centre, Toowoomba, is anything to go by, our worst fears may be realised if our town is to feature in the future. Toowoomba is depicted as rural landscapes, ‘elegant’ buildings, a garden festival (the “Carnival of the Flowers”) and the town’s history as home of the Southern Cross windmill and the iconic lamington sponge. The episode features an old shearing shed and a stock whip demonstration, but makes no mention of the arts, or of the University that has been there since 1967. Summing up Toowoomba, the voiceover describes it as “an understated and peaceful place to live,” and provides “an attractive alternative” to city life, substantiated by a favourable comparison of median real estate prices.Below we share our individual responses to the question raised in our opening conversation about the limitations of Escape from the City: What have we come to value about our own town since escaping from city life?Jane: The aspects of life in Armidale I most enjoy are, at least in part, associated with or influenced by the fact that this is a centre for education and a ‘university town’. As such, there is access to an academic library and an excellent town library. The presence of the University of New England, along with independent and public schools, and TAFE, makes education a major employer, attracting a significant student population, and is a major factor in Armidale being one of the first towns in the roll-out of the NBN/high-speed broadband. University staff and students may also account for the thriving cafe culture, along with designer breweries/bars, art house cinema screenings, and a lively classical and popular music scene. Surely the presence of a university and associated spin-offs would deserve coverage in a prospective episode about Armidale.Alison: Having grown up in the city, and now having lived more than half my life in an inner-regional country town, I don’t feel I am missing out ‘culturally’ from this decision. Within our town, there is a vibrant arts community, with the regional gallery and two local galleries holding regular art exhibitions, theatre at a range of venues, and book launches at our lively local book store. And when my children were younger, there was no shortage of sporting events they could be involved with. Encountering friends and familiar faces regularly at these events adds to my sense of belonging to my community. The richness of this life does not make it to the television screen in episodes of Escape from the City.Kerry: I greatly value the Armidale community’s strong social conscience. There are many examples of successful programs to support diverse groups. Armidale Sanctuary and Humanitarian Settlement sponsored South Sudanese refugees for many years and is currently assisting Ezidi refugees. In addition to the core Sanctuary committee, many in the local community help families with developing English skills, negotiating daily life, such as reading and responding to school notes and medical questionnaires. The Backtrack program assists troubled Aboriginal and non-Aboriginal youth. The program helps kids “to navigate their relationships, deal with personal trauma, take responsibility […] gain skills […] so they can eventually create a sustainable future for themselves.” The documentary film Backtrack Boys shows what can be achieved by individuals with the support of the community. Missing from Escape from the City is recognition of the indigenous experience and history in regional communities, unlike the BBC’s ‘original’ program in which medieval history and Vikings often get a ‘guernsey’. The 1838 Myall Creek massacre of 28 Wirrayaraay people, led to the first prosecution and conviction of a European for killing Aboriginals. Members of the Indigenous and non-Indigenous community in Armidale are now active in acknowledging the past wrongs and beginning the process of reconciliation.Josie: About 10am on a recent Saturday morning I was walking from the car park to the shopping complex. Coming down the escalator and in the vestibule, there were about thirty people and it occurred to me that there were at least six nationalities represented, with some of the people wearing traditional dress. It also struck me that this is not unusual—we are a diverse community as a result of our history and being a ‘university city’. The Armidale Aboriginal Cultural Centre and Keeping Place was established in 1988 and is being extended in 2019. Diversity is apparent in cultural activities such as an international film festival held annually and many of the regular musical events and stalls at the farmers’ market increasingly reflect the cultural mix of our town. As a long-term resident, I appreciate the lifestyle here.Wendy: It is early morning and I am walking in a forest of tall trees, with just the sounds of cattle and black co*ckatoos. I travel along winding pathways with mossy boulders and creeks dry with drought. My dog barks at rabbits and ‘roos, and noses through the nooks and crannies of the hillside. In this public park on the outskirts of town, I can walk for two hours without seeing another person, or I can be part of a dog-walking pack. The light is grey and misty now, the ranges blue and dark green, but I feel peaceful and content. I came here from the city 30 years ago and hated it at first! But now I relish the way I can be at home in 10 minutes after starting the day in the midst of nature and feeling part of the landscape, not just a tourist—never a possibility in the city. I can watch the seasons and the animals as they come and go and be part of a community which is part of the landscape too. For me, the first verse of South of My Days, written by a ‘local’ describing our New England environment, captures this well:South of my days’ circle, part of my blood’s country,rises that tableland, high delicate outlineof bony slopes wincing under the winter,low trees, blue-leaved and olive, outcropping granite-clean, lean, hungry country. The creek’s leaf-silenced,willow choked, the slope a tangle of medlar and crabapplebranching over and under, blotched with a green lichen;and the old cottage lurches in for shelter. (Wright 20)Whilst our autoethnographic reflections may not reach the heady heights of Judith Wright, they nevertheless reflect the experience of living in, not just escaping to the country. We are disappointed that the breadth of cultural activities and the sense of diversity and community that our stories evoke are absent from the representations of regional communities in Escape from the City.Kate Oakley and Jonathon Ward argue that ‘visions of the good life’, in particular cultural life in the regions, need to be supported by policy which encourages a sustainable prosperity characterised by both economic and cultural development. Escape from the City, however, dwells on the material aspects of consumption—good house prices and the possibility of a private enterprise—almost to the exclusion of any coverage of the creative cultural features.We recognise that the lifestyle genre requires simplification for viewers to digest. What we are challenging is the sense that emerges from the repetitive format week after week whereby differences between places are lost (White 580). Instead what is conveyed in Escape from the City is that regions are hom*ogenous and monocultural. We would like to see more screen time devoted to the social and cultural aspects of the individual locations.ConclusionWe believe coverage of a far richer and more complex nature of rural life would provide a more ‘realistic’ preview of what could be ahead for the ‘escapees’ and perhaps swing the decision to relocate. Certainly, there is some evidence that viewers gain information from lifestyle programs (Hill 106). We are concerned that a lifestyle television program that purports to provide expert advice on the benefits and possible pitfalls of a possible move to the country should be as accurate and all-encompassing as possible within the constraints of the length of the program and the genre.So, returning to what may appear to have been a light-hearted exchange between us at our local bar, and given the above discussion, we argue that television is a powerful medium. We conclude that a popular lifestyle television program such as Escape from the City has an impact on a large viewing audience. For those city-based viewers watching, the message is that moving to the country is an economic ‘no brainer’, whereas the social and cultural dimensions of regional communities, which we posit have sustained our lives, are overlooked. Such texts influence viewers’ perceptions and expectations of what escaping to the country may entail. Escape from the City exploits regional towns as subject matter for a lifestyle program but does not significantly challenge stereotypical representations of country life or does not fully flesh out what escaping to the country may achieve.ReferencesArmidale Regional Council. Community Strategic Plan 2017–2027. Armidale: Armidale Regional Council, 2017.“Backtrack Boys.” Dir. Catherine Scott. Sydney: Umbrella Entertainment, 2018.Boyle, Raymond, and Lisa W. Kelly. “Television, Business Entertainment and Civic Culture.” Television and New Media 14.1 (2013): 62–70.Butz, David, and Kathryn Besio. “Autoethnography.” Geography Compass 3.5 (2009): 1660–74.Chan, Gabrielle. Rusted Off: Why Country Australia Is Fed Up. Australia: Vintage, 2018.Collins, Megan. Classical and Contemporary Social Theory: The New Narcissus in the Age of Reality Television. Routledge, 2018.Gilmore, Sarah, Nancy Harding, Jenny Helin, and Alison Pullen. “Writing Differently.” Management Learning 50.1 (2019): 3–10.Hill, Annette. Reality TV: Audiences and Popular Factual Television. London: Routledge, 2004.iview. “Escape from the City.” Sydney: Australian Broadcasting Corporation, 2019.Klevan, Trude, Bengt Karlsson, Lydia Turner, Nigel Short, and Alec Grant. “‘Aha! ‘Take on Me’s’: Bridging the North Sea with Relational Autoethnography.” Qualitative Research Journal 18.4 (2018): 330–44.Loof, Travis. “A Narrative Criticism of Lifestyle Reality Programs.” Journal of Media Critiques 1.5 (2015): 167–78.O’Sullivan, Jane, and Alison Sheridan. “The King Is Dead, Long Live the King: Tall Tales of New Men and New Management in The Bill.” Gender, Work and Organization 12.4 (2005): 299–318.Oakley, Kate, and Jonathon Ward. “The Art of the Good Life: Culture and Sustainable Prosperity.” Cultural Trends 27.1 (2018): 4–17.Peeren, Esther, and Irina Souch. “Romance in the Cowshed: Challenging and Reaffirming the Rural Idyll in the Dutch Reality TV Show Farmer Wants a Wife.” Journal of Rural Studies 67.1 (2019): 37–45.Sheridan, Alison, and Jane O’Sullivan. “‘Fact’ and ‘Fiction’: Enlivening Health Care Education.” Journal of Health Orgnaization and Management 27.5 (2013): 561–76.Thomas, Lyn. “Alternative Realities: Downshifting Narratives in Contemporary Lifestyle Television.” Cultural Studies 22.5 (2008): 680–99.Tsay-Vogel, Mina, and K. Maja Krakowiak. “Exploring Viewers’ Responses to Nine Reality TV Subgenres.” Psychology of Popular Media Culture 6.4 (2017): 348–60.White, Mimi. “‘A House Divided’.” European Journal of Cultural Studies 20.5 (2017): 575–91.Wright, Judith. Collected Poems: 1942–1985. Sydney: Angus & Robertson, 1994.

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Literary critics have mainly read Herman Melville’s short story “I and My Chimney” (1856) as allegory. This article elaborates on the tradition of interpreting Melville’s text allegorically by relating it to Fredric Jameson’s post-structural reinterpretation of allegory. In doing so, it argues that the story is not a simple example of allegory but rather an auto-reflexive engagement with allegory that reflects the cultural and historical ambivalences of the time in which Melville was writing. The suggestion is that Melville deliberately used signifiers (or the lack thereof) of directionality and place to reframe the overt context of his allegory (Civil War divisions of North and South) through teasing reference to the contemporaneous emergence of Manifest Destiny as an East-West historical spatialization. To this extent, from a literary-historical perspective, Melville’s text presents as an enquiry into the relationship between the obvious allegorical elements of a text and the literal or material elements that may either support or, as in this case, problematize traditional allegorical modes. In some ways, Melville’s story faintly anticipates Jameson’s post-structural theory of allegory as produced over a century later. “I and My Chimney” may also be linked to later texts, such as Jack Kerouac’s On the Road, which shift the directionality of American Literary History, in a definite way, from a North-South to an East-West axis. Laura Ingalls Wilder’s Little House books may also be mentioned here. While, in recent years, some literary critics have produced readings of Melville’s story that depart from the traditional emphasis on its allegorical nature, this article claims to be the first to engage with “I and My Chimney” from within an allegorical perspective also informed by post-structural thinking. To do this, it focuses on the setting or directionality of the story, and on the orientating details of the titular chimney.Written and published shortly before the outbreak of the American Civil War (1861-1865), which pitted North against South, Melville’s story is told in the first person by a narrator with overweening affection for the chimney he sees as an image of himself: “I and my chimney, two gray-headed old smokers, reside in the country. We are, I may say, old settlers here; particularly my old chimney, which settles more and more every day” (327). Within the merged identity of narrator and chimney, however, the latter takes precedence, almost completely, over the former: “though I always say, I and my chimney, as Cardinal Wolsey used to say, I and my King, yet this egotistic way of speaking, wherein I take precedence of my chimney, is hardly borne out by the facts; in everything, except the above phrase, my chimney taking precedence of me” (327). Immediately, this sentence underscores a disjunction between words (“the above phrase”) and material circ*mstances (“the facts”) that will become crucial in my later consideration of Melville’s story as post-structural allegory.Detailed architectural and architectonic descriptions manifesting the chimney as “the one great domineering object” of the narrator’s house characterize the opening pages of the story (328). Intermingled with these descriptions, the narrator recounts the various interpersonal and business-related stratagems he has been forced to adopt in order to protect his chimney from the “Northern influences” that would threaten it. Numbered in this company are his mortgagee, the narrator’s own wife and daughters, and Mr. Hiram Scribe—“a rough sort of architect” (341). The key subplot implicated with the narrator’s fears for his chimney concerns its provenance. The narrator’s “late kinsman, Captain Julian Dacres” built the house, along with its stupendous chimney, and upon his death a rumour developed concerning supposed “concealed treasure” in the chimney (346). Once the architect Scribe insinuates, in correspondence to the chimney’s alter ego (the narrator), “that there is architectural cause to conjecture that somewhere concealed in your chimney is a reserved space, hermetically closed, in short, a secret chamber, or rather closet” the narrator’s wife and daughter use Scribe’s suggestion of a possible connection to Dacres’s alleged hidden treasure to reiterate their calls for the chimney’s destruction (345):Although they had never before dreamed of such a revelation as Mr. Scribe’s, yet upon the first suggestion they instinctively saw the extreme likelihood of it. In corroboration, they cited first my kinsman, and second, my chimney; alleging that the profound mystery involving the former, and the equally profound masonry involving the latter, though both acknowledged facts, were alike preposterous on any other supposition than the secret closet. (347)To protect his chimney, the narrator bribes Mr. Scribe, inviting him to produce a “‘little certificate—something, say, like a steam-boat certificate, certifying that you, a competent surveyor, have surveyed my chimney, and found no reason to believe any unsoundness; in short, any—any secret closet in it’” (351). Having enticed Scribe to scribe words against himself, the narrator concludes his tale triumphantly: “I am simply standing guard over my mossy old chimney; for it is resolved between me and my chimney, that I and my chimney will never surrender” (354).Despite its inherent interest, literary critics have largely overlooked “I and My Chimney”. Katja Kanzler observes that “together with much of [Melville’s] other short fiction, and his uncollected magazine pieces in particular, it has never really come out of the shadow of the more epic texts long considered his masterpieces” (583). To the extent that critics have engaged the story, they have mainly read it as traditional allegory (Chatfield; Emery; Sealts; Sowder). Further, the allegorical trend in the reception of Melville’s text clusters within the period from the early 1940s to the early 1980s. More recently, other critics have explored new ways of reading Melville’s story, but none, to my knowledge, have re-investigated its dominant allegorical mode of reception in the light of the post-structural engagements with allegory captured succinctly in Fredric Jameson’s work (Allison; Kanzler; Wilson). This article acknowledges the perspicacity of the mid-twentieth-century tradition of the allegorical interpretation of Melville’s story, while nuancing its insights through greater attention to the spatialized materiality of the text, its “geomorphic” nature, and its broader historical contexts.E. Hale Chatfield argues that “I and My Chimney” evidences one broad allegorical polarity of “Aristocratic Tradition vs. Innovation and Destruction” (164). This umbrella category is parsed by Sealts as an individualized allegory of besieged patriarchal identity and by Sowder as a national-level allegory of anxieties linked to the antebellum North-South relationship. Chatfield’s opposition works equally well for an individual or for communities of individuals. Thus, in this view, even as it structures our reception of Melville’s story, allegory remains unproblematized in itself through its internal interlocking. In turn, “I and My Chimney” provides fertile soil for critics to harvest an allegorical crop. Its very title inveigles the reader towards an allegorical attitude: the upstanding “I” of the title is associated with the architecture of the chimney, itself also upstanding. What is of the chimney is also, allegorically, of the “I”, and the vertical chimney, like the letter “I”, argues, as it were, a north-south axis, being “swung vertical to hit the meridian moon,” as Melville writes on his story’s first page (327). The narrator, or “I”, is as north-south as is his narrated allegory.Herman Melville was a Northern resident with Southern predilections, at least to the extent that he co-opted “Southern-ness” to, in Katja Kanzler’s words, “articulate the anxiety of mid-nineteenth-century cultural elites about what they perceive as a cultural decline” (583). As Chatfield notes, the South stood for “Aristocratic Tradition”; the North, for “Innovation and Destruction” (164). Reflecting the conventional mid-twentieth-century view that “I and My Chimney” is a guileless allegory of North-South relations, William J. Sowder argues that itreveals allegorically an accurate history of Southern slavery from the latter part of the eighteenth century to the middle of the nineteenth—that critical period when the South spent most of its time and energy apologizing for the existence of slavery. It discloses the split which Northern liberals so ably effected between liberal and conservative forces in the South, and it lays bare the intransigence of the traditional South on the Negro question. Above everything, the story reveals that the South had little in common with the rest of the Union: the War between the States was inevitable. (129-30)Sowder goes into painstaking detail prosecuting his North-South allegorical reading of Melville’s text, to the extent of finding multiple correspondences between what is allegorizing and what is being allegorized within a single sentence. One example, with Sowder’s allegorical interpolations in square brackets, comes from a passage where Melville is writing about his narrator’s replaced “gable roof” (Melville 331): “‘it was replaced with a modern roof [the cotton gin], more fit for a railway woodhouse [an industrial society] than an old country gentleman’s abode’” (Sowder 137).Sowder’s argument is historically erudite, and utterly convincing overall, except in one crucial detail. That is, for a text supposedly so much about the South, and written so much from its perspective—Sowder labels the narrator a “bitter Old Southerner”—it is remarkable how the story is only very ambiguously set in the South (145). Sowder distances himself from an earlier generation of commentators who “generally assumed that the old man is Melville and that the country is the foothills of the Massachusetts Berkshires, where Melville lived from 1850 to 1863,” concluding, “in fact, I find it hard to picture the narrator as a Northerner at all: the country which he describes sounds too much like the Land of Cotton” (130).Quite obviously, the narrator of any literary text does not necessarily represent its author, and in the case of “I and My Chimney”, if the narrator is not inevitably coincident with the author, then it follows that the setting of the story is not necessarily coincident with “the foothills of the Massachusetts Berkshires.” That said, the position of critics prior to Sowder that the setting is Massachusetts, and by extension that the narrator is Melville (a Southern sympathizer displaced to the North), hints at an oversight in the traditional allegorical reading of Melville’s text—related to its spatializations—the implications of which Sowder misses.Think about it: “too much like the Land of Cotton” is an exceedingly odd phrase; “too much like” the South, but not conclusively like the South (Sowder 130)! A key characteristic of Melville’s story is the ambiguity of its setting and, by extension, of its directionality. For the text to operate (following Chatfield, Emery, Sealts and Sowder) as a straightforward allegory of the American North-South relationship, the terms “north” and “south” cannot afford to be problematized. Even so, whereas so much in the story reads as related to either the South or the North, as cultural locations, the notions of “south-ness” and “north-ness” themselves are made friable (in this article, the lower case broadly indicates the material domain, the upper case, the cultural). At its most fundamental allegorical level, the story undoes its own allegorical expressions; as I will be arguing, the materiality of its directionality deconstructs what everything else in the text strives (allegorically) to maintain.Remarkably, for a text purporting to allegorize the North as the South’s polar opposite, nowhere does the story definitively indicate where it is set. The absence of place names or other textual features which might place “I and My Chimney” in the South, is over-compensated for by an abundance of geographically distracting signifiers of “place-ness” that negatively emphasize the circ*mstance that the story is not set definitively where it is set suggestively. The narrator muses at one point that “in fact, I’ve often thought that the proper place for my old chimney is ivied old England” (332). Elsewhere, further destabilizing the geographical coordinates of the text, reference is made to “the garden of Versailles” (329). Again, the architect Hiram Scribe’s house is named New Petra. Rich as it is with cultural resonances, at base, Petra denominates a city in Jordan; New Petra, by contrast, is place-less.It would appear that something strange is going on with allegory in this deceptively straightforward allegory, and that this strangeness is linked to equally strange goings on with the geographical and directional relations of north and south, as sites of the historical and cultural American North and South that the story allegorizes so assiduously. As tensions between North and South would shortly lead to the Civil War, Melville writes an allegorical text clearly about these tensions, while simultaneously deconstructing the allegorical index of geographical north to cultural North and of geographical south to cultural South.Fredric Jameson’s work on allegory scaffolds the historically and materially nuanced reading I am proposing of “I and My Chimney”. Jameson writes:Our traditional conception of allegory—based, for instance, on stereotypes of Bunyan—is that of an elaborate set of figures and personifications to be read against some one-to-one table of equivalences: this is, so to speak, a one-dimensional view of this signifying process, which might only be set in motion and complexified were we willing to entertain the more alarming notion that such equivalences are themselves in constant change and transformation at each perpetual present of the text. (73)As American history undergoes transformation, Melville foreshadows Jameson’s transformation of allegory through his (Melville’s) own transformations of directionality and place. In a story about North and South, are we in the south or the north? Allegorical “equivalences are themselves in constant change and transformation at each perpetual present of the text” (Jameson 73). North-north equivalences falter; South-south equivalences falter.As noted above, the chimney of Melville’s story—“swung vertical to hit the meridian moon”—insists upon a north-south axis, much as, in an allegorical mode, the vertical “I” of the narrator structures a polarity of north and south (327). However, a closer reading shows that the chimney is no less complicit in the confusion of north and south than the environs of the house it occupies:In those houses which are strictly double houses—that is, where the hall is in the middle—the fire-places usually are on opposite sides; so that while one member of the household is warming himself at a fire built into a recess of the north wall, say another member, the former’s own brother, perhaps, may be holding his feet to the blaze before a hearth in the south wall—the two thus fairly sitting back to back. Is this well? (328)Here, Melville is directly allegorizing the “sulky” state of the American nation; the brothers are, as it were, North and South (328). However, just as the text’s signifiers of place problematize the notions of north and south (and thus the associated cultural resonances of capitalized North and South), this passage, in queering the axes of the chimneys, further upsets the primary allegory. The same chimney that structures Melville’s text along a north-south or up-down orientation, now defers to an east-west axis, for the back-to-back and (in cultural and allegorical terms) North-South brothers, sit at a 90-degree angle to their house’s chimneys, which thus logically manifest a cross-wise orientation of east-west (in cultural and allegorical terms, East-West). To this extent, there is something of an exquisite crossover and confusion of cultural North and South, as represented by the two brothers, and geographical/architectural/architectonic north and south (now vacillating between an east-west and a north-south orientation). The North-South cultural relationship of the brothers distorts the allegorical force of the narrator’s spine-like chimney (not to mention of the brother’s respective chimneys), thus enflaming Jameson’s allegorical equivalences. The promiscuous literality of the smokestack—Katja Kanzler notes the “astonishing materiality” of the chimney—subverts its main allegorical function; directionality both supports and disrupts allegory (591). Simply put, there is a disjunction between words and material circ*mstances; the “way of speaking… is hardly borne out by the facts” (Melville 327).The not unjustified critical focus on “I and My Chimney” as an allegory of North-South cultural (and shortly wartime) tensions, has not kept up with post-structural developments in allegorical theory as represented in Fredric Jameson’s work. In part, I suggest, this is because critics to date have missed the importance to Melville’s allegory of its extra-textual context. According to William J. Sowder, “Melville showed a lively interest in such contemporary social events as the gold rush, the French Revolution of 1848, and the activities of the English Chartists” (129). The pity is that readings of “I and My Chimney” have limited this “lively interest” to the Civil War. Melville’s attentiveness to “contemporary social events” should also encompass, I suggest, the East-West (east-west) dynamic of mid-nineteenth century American history, as much as the North-South (north-south) dynamic.The redialing of Melville’s allegory along another directional axis is thus accounted for. When “I and My Chimney” was published in 1856, there was, of course, at least one other major historical development in play besides the prospect of the Civil War, and the doctrine of Manifest Destiny ran, not to put it too finely, along an East-West (east-west) axis. Indeed, Manifest Destiny is at least as replete with a directional emphasis as the discourse of Civil War North-South opposition. As quoted in Frederick Merk’s Manifest Destiny and Mission in American History, Senator Daniel S. Dickinson states to the Senate, in 1848, “but the tide of emigration and the course of empire have since been westward” (Merk 29). Allied to this tradition, of course, is the well-known contemporaneous saying, “go West, young man, go West” (“Go West, Young Man”).To the extent that Melville’s text appears to anticipate Jameson’s post-structural theory of allegory, it may be linked, I suggest, to Melville’s sense of being at an intersection of American history. The meta-narrative of national history when “I and My Chimney” was produced had a spatial dimension to it: north-south directionality (culturally, North-South) was giving way to east-west directionality (culturally, East-West). Civil War would soon give way to Manifest Destiny; just as Melville’s texts themselves would, much later admittedly, give way to texts of Manifest Destiny in all its forms, including Jack Kerouac’s On the Road and Laura Ingalls Wilder’s Little House series. Equivalently, as much as the narrator’s wife represents Northern “progress” she might also be taken to signify Western “ambition”.However, it is not only that “I and My Chimney” is a switching-point text of geo-history (mediating relations, most obviously, between the tendencies of Southern Exceptionalism and of Western National Ambition) but that it operates as a potentially generalizable test case of the limits of allegory by setting up an all-too-simple allegory of North-South/north-south relations which is subsequently subtly problematized along the lines of East-West/east-west directionality. As I have argued, Melville’s “experimental allegory” continually diverts words (that is, the symbols allegory relies upon) through the turbulence of material circ*mstances.North, or north, is simultaneously a cultural and a geographical or directional coordinate of Melville’s text, and the chimney of “I and My Chimney” is both a signifier of the difference between N/north and S/south and also a portal to a 360-degrees all-encompassing engagement of (allegorical) writing with history in all its (spatialized) manifestations.ReferencesAllison, J. “Conservative Architecture: Hawthorne in Melville’s ‘I and My Chimney.’” South Central Review 13.1 (1996): 17-25.Chatfield, E.H. “Levels of Meaning in Melville’s ‘I and My Chimney.’” American Imago 19.2 (1962): 163-69.Emery, A.M. “The Political Significance of Melville’s Chimney.” The New England Quarterly 55.2 (1982): 201-28.“Go West, Young Man.” Wikipedia: The Free Encyclopedia 29 Sep. 2017. <https://en.wikipedia.org/wiki/Go_West,_young_man>.Jameson, F. “Third-World Literature in the Era of Multinational Capitalism.” Social Text 15 (1986): 65-88.Kanzler, K. “Architecture, Writing, and Vulnerable Signification in Herman Melville’s ‘I and My Chimney.’” American Studies 54.4 (2009): 583-601.Kerouac, J. 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