Acts of cross-cultural reading have ethical consequences. In Haunting Encounters, Joanne Lipson Freed traces the narrative strategies through which certain works of fiction forge connections with their readers across boundaries of difference. Freed uses the idea of haunting-an intense, temporary, and transformative encounter that defies rational understanding-as a metaphor for the kinds of ethical relationships that such works cultivate with their readers across boundaries of difference. Freed points out how such works as Toni Morrison's Beloved, Leslie Marmon Silko's Ceremony, and Arundhati Roy's The God of Small Things strike a delicate balance between empathy and alterity. Their engaging narratives, Freed argues, bring unfamiliar characters and distant settings to life for readers who encounter them as "other," but they also highlight the limits of fiction, holding in check the impulse to colonize another's experience with one's own. Haunting Encounters is a sensitive and perceptive application of theory to real-world concerns. It draws together the fields of postcolonial fiction and narrative ethics and suggests original modes of engagement between readers and books that promise new ways of looking at the world.
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Haunting Encounters
Haunting Encounters The Ethics of Reading across Boundaries of Difference
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First published 2017 by Cornell University Press
Printed in the United States of America
Library of Congress CataloginginPublication Data
Names: Freed, Joanne Lipson, 1983– author. Title: Haunting encounters : the ethics of reading across boundaries of difference / Joanne Lipson Freed. Description: Ithaca : Cornell University Press, 2017. | Includes bibliographical references and index. Identifiers: LCCN 2017013435 (print) | LCCN 2017018722 (ebook) | ISBN 9781501713828 (pdf) | ISBN 9781501713835 (ret) | ISBN 9781501713767 | ISBN 9781501713767 (cloth : alk. paper) Subjects: LCSH: Ghosts in literature. | Supernatural in literature. | Psychic trauma in literature. | Memory in literature. | Difference (Philosophy) in literature. | Transnationalism in literature. | Ghost stories—History and criticism. | American fiction—20th century— History and criticism. | American fiction—21st century—History and criticism. | Commonwealth fiction (English)—20th century— History and criticism. | Commonwealth fiction (English)—21st century—History and criticism. Classification: LCC PS374.G45 (ebook) | LCC PS374.G45 F74 2017 (print) | DDC 813/.0873309—dc23 LC record available at https://lccn.loc.gov/2017013435
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Cover illustration:Past Present 3, 2015, oil on canvas, 200 x 200 x 10 cm Courtesy Andréhn-Schiptjenko, Stockholm
For James and Nora
Contents
Acknowledgments ix Introduction: Fictional Encounters1 1 Figures of Estrangement35 2 Telling the Traumas of History69 3 Invisible Victims, Visible Absences99 4 Haunting Futures and the Dystopian Imagination135 Conclusion: On Dream Fish and the Limits of Fiction167 Notes 179 Bibliography 189 Index 199
Acknowledgments
here are many, many people to thank for helping to bring this T book into being. As someone who now teaches, I’ll start by thanking my teachers. The faculty at Sidwell Friends School taught me to be curious, confident, and resilient, and my professors and classmates at Swarthmore College inspired me to consider the ways that literature might matter, ethically and politically, and al ways held my readings, and their own, to scrupulous account. I am especially grateful to those at the University of Michigan who together enabled this project to take shape: Josh Miller, Jenni fer Wenzel, Michael Awkward, and Amy Sara Carroll. In addition, the organizers of the Preparing Future Faculty program and the Center for Research on Learning and Teaching at the University of Michigan showed me how to be a practicing teacherscholar who writes every day; without them, this book would likely never have been finished. I owe many thanks to the participants and organizers of the 2014 Project Narrative Summer Institute at the Ohio State Univer sity, who helped me discover that, at heart, I’ve long been a narra tive theorist. Robyn Warhol, in particular, has been an incredibly generous and inspiring mentor; she, along with my many PNSI friends, has welcomed me into a vibrant and nourishing intellec tual community, of which I am grateful to be a part.