Articles
‘A poetics of parallax: The significant geographies of Derek Walcott’s Omeros (1990)’, Journal of Postcolonial Writing, vol. 58, iss. 4 (2022), pp. 453-467.
https://doi.org/10.1080/17449855.2022.2048265
Tracing the interplay between different scales of language, narrative, and geography in Omeros (1990), this article analyses the activity of parallax within Derek Walcott’s aesthetic, and its broader significance for the relationship between postcolonial literature and space. It argues Omeros evidences Walcott’s development of a poetics of parallax, and analyses this poetics in a way that builds on recent critical developments such as the focus on “significant geographies”, as well as on established critical distinctions, primarily that between style and plot. By analysing the negotiation of different scales of attention across the poem – from local depiction characterized by heightened style to the insistence on spatial and historical relationships that elude style’s descriptive powers – this article connects formal and stylistic readings with the text’s geopolitical imagination. The result provides a new angle on the poem’s negotiation of Homeric sources, and its delineation of the tensions and pressures that criss-cross postcolonial spatiality.
‘King Multitude: Browning and Coriolanus’, Essays in Criticism, vol. 72, iss. 2 (2022), pp. 148-169.
https://doi.org/10.1093/escrit/cgac014
This article explores the imaginative impact of Shakespeare’s Coriolanus on Brownwing’s drama and poetry. To do so provides a new perspective on his work in two main ways. First, it ties several characteristic aspects of his poetry—his diction; his interest in the rhetorical self-justification of power, and in confrontations between individual and collective voices—to a single formative intertextual and personal encounter. Second, reconsidering his body of work in the terms generated by this encounter provides one means by which the relationship between aesthetics and politics across Browning’s career might be thought of in terms of a continuity, rather than—as is often asserted—a waning of political interest. Consequently, this article provides a different perspective on Browning from that implied by Trevor Lloyd’s dated yet persistent suggestion that the poet’s ‘political interests were not of primary concern in his work,’ and only ‘have some importance in considering several of his poems of the second rank.’ Instead, it begins to trace both the immediate and the lasting consequences of Browning’s imaginative entanglement with Coriolanus, from his ‘comparative encounters’ and his recurring interest in ‘multitudes’ to his fascination with the anatomy of social groups.
‘“the terror of sheer bigness”: Microplotting Immensity in Frank Norris’s The Octopus’, Style, vol. 55, no. 2 (2021), pp. 253-269.
https://doi.org/10.5325/style.55.2.0253
This article traces the stylistic consequences of the attempt to map seemingly infinitely expanding networks of trade and value in Frank Norris's The Octopus (1901). It focuses on the rehearsal at the level of the sentence of characters' grappling with the “terror of sheer bigness,” and the complex interrelation of public and private, political and personal, local and global inaugurated by the railroad's management of the distribution of wheat. The textures of Norris's style—his grammar, syntax, and diction—are implicated in the novel's interrogation and negotiation of these dislocations. From the failures of mimetic phrasing spiralling across lengthy cumulative sentences to patterns of phrasal repetition, the various microplots at work within the novel's verbal landscapes represent an essential and often overlooked facet of the force of The Octopus.
‘“the bourgeois nature in difficulties”: The Crisis of Liberalism in Robert Browning’s Aristophanes’ Apology (1875)’, Victorian Literature and Culture, vol. 48, no. 3 (Autumn, 2020), pp. 551-575.
https://doi.org/10.1017/S1060150319000172
This article traces Browning’s often complex relationship with liberalism, taking as its principal case study the unjustly neglected long poem Aristophanes’ Apology (1875). Overhauling the conventional critical approach to this poem, this article reads its central antagonism as evidence of Browning’s poetry’s engagement with its contemporary political context, an engagement that has transformative effects on his poem’s form and style. The poem also draws translation and translationality into dialogue with a broader argument about liberalism’s unsettling contradictions, and positions a generic investment in comedy in relation to its investigation of these contradictions. Above all, this article makes the case that Browning’s politics, historically underappreciated in scholarship, are an active presence in his writing which ought to be taken seriously.
‘“great words carrying the world”: Intercultural Translation in B. Kojo Laing’s “No needle in the sky”’, Moveable Type, Issue 10, ‘Peripheries’; (Summer, 2018), pp. 50-63.
https://doi.org/10.14324/111.1755-4527.083
This article analyses the role of intercultural translation in one of the poems collected in Godhorse, ‘No needle in the sky’. It shows how Laing’s engagement with influence – particularly the poem’s use of Gerald Manley Hopkins’s ‘The Windhover’ as a model – prefigures the emphasis on intercultural exchange which characterises his later works. By returning to the poetry, I draw attention to the ways in which the concerns of Laing’s later works are also the concerns of his earliest writings, and suggest ways in which recent criticism could reposition its arguments in light of this. Ultimately, it is proposed that Laing’s uses of intertextuality in Godhorse can act as a template for what Fredric Jameson has called an ‘aesthetic of cognitive mapping’, or a ‘pedagogical culture which seeks to endow the individual subject with some new heightened sense of its place in the global system’ – an aesthetic which Jameson suggests might be used as a corrective to the stagnating and isolating tendencies of much of late capitalism.