Joyce Carol Oates

This paper focuses on the global political aspects of the "pro-life" vs "pro-choice" ideologies with an accent on the American social, political and religious living visa -vis their reflection, implication and repercussions on everyday life, as well as their correlation to a contemporary psychological novel A Book of American Martyrs by Joyce Carol Oates. This complex issue is expressed through the acts of severe violence and suffering, manifested through homicide, profound moral erosion, and the deep psychological trauma the entire "pro-life problem" has brought into the lives of many American families. Furthermore, the research analyzes not only the literary analogy of the consequences of this (already) escalated problem as well as its aftermath and its impact on the people's lives, underlying the abandonment, loss, and the dysfunctional relations as a result of it, but also, it further dives into the statistical analysis of the existing problem in real life, in terms of the current abortion numbers and statistics on a broader scale, worldwide and in the United States at present, thus sketching a portrait of multiple perspectives of the violent responses to the imposed restrictions on the freedom of choice, as well as further explaining its medical, philosophical and cultural implications which lead to a current, modern-day general revolt related to the hash obstruction and restriction of the female rights to free and safe abortion.

The two novels by Joyce Carol Oates analyzed in this paper, Black Water (1993) and Mudwoman (2012), were written in two different moments of the author's career. The first one is based on the infamous Chappaquiddick Incident (1969), where a woman drowned in a car driven by Senator Edward Kennedy; the second is the story of Meredith Neukirchen, a Professor and president of an Ivy League College, who was thrown in a river by her mother as a child. These novels share a relationship of intertextuality deriving from several elements such as the common setting (the water where the protagonist lose/risk losing their lives), the idea of storytelling and the attempt to silence this ability and an ideal dialogue between the two texts on the idea of death and responsibility. The paper analyzes these common features and the reasons that brought Oates to writing, twenty years after the first, what can be defined as the novel of survival: the one where the protagonist lives to tell her story. KEYWORDS: Chappaquiddick Incident; storytelling; fact and fiction; power relations; American history. RESUMO: Os dois romances de Joyce Carol Oates analisados neste artigo, Black Water (1993) e Mudwoman (2012), foram escritos em dois momentos diferentes da carreira da autora. O primeiro é baseado no infame Incidente de Chappaquiddick (1969), onde uma mulher se afogou em um carro dirigido pelo senador Edward Kennedy; A segunda é a história de Meredith Neukirchen, professora e presidente de uma Ivy League College, que foi jogada em um rio por sua mãe quando criança. Estes romances compartilham uma relação de intertextualidade derivada de diversos elementos, como o cenário comum (a água onde o protagonista perde/corre o risco de perder suas vidas), a ideia de contar histórias e a tentativa de silenciar essa habilidade, e um diálogo ideal entre os dois textos sobre a ideia de morte e responsabilidade. O artigo analisa essas características comuns e as razões que levaram Oates à escrita, vinte anos após a primeira, do que pode ser definido como um romance de sobrevivência: aquele em que a protagonista vive para contar sua história. PALAVRAS-CHAVE: Incidente de Chappaquiddick; contar histórias; fato e ficção; relações de poder; História americana.

Mediapart, 6 novembre 2011
Trois écrivains américains délaissent la fiction pour des récits de deuil: Joyce Carol Oates réussit à rester en vie après la mort de son mari, Ray Smith, éditeur. Francisco Goldman élève un tombeau littéraire à sa jeune épouse, Aura Estrada (Dire son nom, qui vient de recevoir le prix Femina étranger 2011). Enfin L'Année de la pensée magique (National Book Award), qu'écrivit Joan Didion en 2005 reparaît, traduit et adapté pour le théâtre.

On July 18,
1969, Senator Edward
Kennedy was involved in a car accident on Chap
-
paquiddick Island (Massachusetts). While Kenne
-
dy managed to get out of his car, the woman
who was riding with him, Mary Jo Kopechne,
whom he had met at a party a few hours before,
died from asphyxiation. The aim of this paper is
to show how the American author Joyce Carol
Oates used this story, setting it in the 1990s,
for her 1992 novel
Black Water.
Through the
character of Kelly Kelleher, the writer builds a
national and gender emblem using Kopechne
as a springboard. The final aim of the operation
is to highlight the contemporary condition of
women and to “bear witness” for those who
cannot speak for themselves anymore.

The volume is an expression of the renewed interest in the reassessment of Gothic literature and culture in Western academia, especially due to the cultural studies' recuperation of popular culture in general and of sensationalist art in particular. Built on the recent critical re-conceptualizations of the Gothic and incorporating elements of psychoanalytical criticism, gender studies, and studies of trauma and memory, the book highlights the ways in which the American Female Gothic serves, on the one hand, to enlarge and redefine this literary genre in the United States and, on the other hand, contributes to the rewriting of American history and experience from the perspective of those whose voices are not always audible in the official discourse about US realities.
Given the low interest in the Gothic and Gothic Studies in Romanian cultural and literary criticism, the book constitutes the first attempt at assessing the American Female Gothic through the study of authors such as Shirley Jackson and Joyce Carol Oates, whose works are currently being recuperated by Western academic criticism. Similarly, Edith Wharton is valued rather for her realist contributions to the depiction of American society, while her ghost stories are frequently overlooked. Starting from the supernatural and mystery fiction of these three women authors, the present work provides a detailed overview of the Gothic rendering of domesticity, gender roles, female oppression and abuse against the background of American society and culture in the 20th century.

The biographical novel has become a dominant literary form in recent years.  But why?  I interviewed prominent biographical novelists such as Michael Cunningham, Joyce Carol Oates, Julia Alvarez, Russell Banks, and Anita Diamant to get some answers.  I have attached my introduction to the book, and the book contains my interviews with the authors.  I am currently working on a new book of interviews with biographical novelists from across the globe.  Bloomsbury will publish that book in late 2018, and it includes interviews with Colm Toibin, Emma Donoghue, Colum McCann, David Ebershoff, Chika Unigwe, Sabina Murray, Rosa Montero, David Lodge, Susan Sellers, Laurent Binet, and many others.

Gothic narratives tend to privilege one particular subject above all others: women’s entrapment in domestic architectural spaces. This thesis aims to investigate the relationship
between women and the home by means of chronotope theory, phenomenology and the concept of the uncanny in three classic New England Gothic works: Nathaniel Hawthorne’s
The House of the Seven Gables, Charlotte Perkins Gilman’s “The Yellow Wall-Paper”, and Shirley Jackson’s The Haunting of Hill House. By viewing the chronotope of the Gothic home as the organising device for heroine-centred Gothic literature, this thesis ultimately makes a case for the view that time and space can be used for subversive feminist purposes in Gothic fiction by calling attention to patriarchal power structures in the home.

This thesis analyzes the ways in which four American Gothic novels written by Shirley Jackson (1916-1965) and Joyce Carol Oates (1938) explore the perception of normality in American society. The chosen novels were published between the late 1950s and the mid1990s. In The Haunting of Hill House (1959), We Have Always Lived in the Castle (1962), Expensive People (1968), and Zombie (1995) Jackson and Oates reflect on contemporary social norms through characters and situations that test the limits of these norms.

The critical approach used in the first and second chapter of this MA thesis to analyze Jackson’s novels is broadly sociological. In the first chapter, Jackson’s The Haunting of Hill House is approached through sociological research on the Cold War era. Central
texts for my analysis of Hill House are Wini Breines’s Young, White, and Miserable (1992) on the plight of young women in postwar American society and Elaine Tyler May’s Homeward Bound: American Families in the Cold War Era (1990) on middle-class families
and family values during the postwar era.
The second chapter explores the conditions that led to the 1960s counterculture in America and the background that affected the novel’s production, since We Have Always Lived in the Castle was published in the beginning of the 1960s. Theodore Roszak’s The Making of a Counter Culture (1969) and research on the mainstream cultural products addressed to teenagers during the 1950s and early 1960s are employed to form the connection.

Herbert Marcuse’s critical thought provides the theoretical framework for the analysis of Oates’s Expensive People and Zombie discussed in the third and fourth chapter respectively. Marcuse challenged the foundations of Freudian psychoanalysis and made a compelling contribution to the intellectual foundation of the 1960s counterculture. One-Dimensional Man (1964) and a selection of his lectures provide
the theoretical framework for the examination of the new subject in late capitalism.

This thesis will show that in the work of Jackson and Oates the normality dictated by
the domestic ideology of the postwar era left no space for opposition. The novels’
protagonists have to deal with a system that excludes them. Jackson and Oates do not follow the premise that their characters have a fundamental flaw; rather they target their critique on the institutions that lead to their characters’ isolation. In that way, they show the need for the social reform of institutions. Norms are shown to be ideologically constructed and thus relative. The consensus is not solely based on objective evaluation, as it also includes the generation of exclusions; these exclusions are telling about the society that generates them.

Joyce Carol Oates’s writing has been
defined several times as too violent, and her
work displays a series of features belonging
to the Gothic genre. An example of this style
can be found in the 2013 novella “Evil Eye”,
published in the namesake collection, which re
-
counts the difficult marriage between Austin and
Mariana, and the return from the past of his first
wife Ines. In this story, whose male protagonist
is both the hero and the villain, she describes
the daily domestic horror of a relationship with
a pathological narcissist. In this way, Oates
gives both a Gothic character to her story and a
cautionary one. At the same time, her operation
becomes an embodiment of how she sees the
“Gothic” label that has been given to her: as “a
fairly realistic assessment of modern life”.

Un elemento esencial para el desdoblamiento de la trama y la complejidad psicológica de los eventos en Where Are You Going, Where Have You Been? por Joyce Carol Oates es el concepto del espacio. En su teoría de la narratología, Mieke Ball llama al lugar en donde un personaje se encuentra situado el frame o marco (Narratology, 134). Este componente es especialmente importante en el cuento de Oates, ya que los marcos topográficos están cargados de significado, y se pueden incluso concebir como símbolos.

This study is an analysis of the novels Black Water (1992), Blonde (2000), and My Sister, My Love (2008) by Joyce Carol Oates. Based on real-life characters (Mary Jo Kopechne, Marilyn Monroe, JonBenét Ramsey), these works blend fact and fiction, historical and poetic truth, and create a new way to recount facts that allow the writer to give a new voice to people who cannot speak for themselves anymore. The present book addresses the stories behind the novels, their genre and stylistic features, but is also an exploration of several aspects of American culture and society and their issues connected to consumerism, the cult of beauty and celebrity, and how they affect American women’s lives and power relations with men.

Now that academia has recognized the value of biofiction studies, where do scholars go from here? For the next decade, there is going to be a need for much scholarship about biofiction, and in this very short essay, I suggest some productive lines of inquiry. There is much work to be done.

Mediapart, 13 octobre 2013
Joyce Carol Oates poursuit une œuvre prométhéenne, véritable chronique de l'Amérique contemporaine, comme l'illustre son dernier roman, Mudwoman : récit des failles d'une femme devenue première présidente d'une université de la Ivy League dans un pays sur le point d'entrer en guerre contre l'Irak. Entretien vidéo

The article proposes a sociological reading of the novel I’ll Take You There by Joyce Carol Oates . Though the book can be classified as an initiation novel, it also constitutes an accusation of the very procedure of initiation as forcing individuals to agree and adapt to unfair social mechanisms . The context of the protagonist’s struggles is provided by the social structure of the early-1960s United States, with its inherent misogyny, anti-Semitism, racism and classism . All these factors shape her destiny in accordance with the logic of social reproduction . A destiny of overwhelming power of allocation, which the heroine is trying to resist . As an academic novel, I’ll Take You There is also an insightful deconstruction of the universalism preached within the Western academic world, and es- pecially philosophy .

RESUMO: Partindo do julgamento de Adolph Eichmann e das observações de Arendt, pretendo mostar que há uma estreita relação entre o que acontece e o relato deste acontecimento (ou entre fábula e enredo, respectivamente). A pesquisa que planejo, como doutorando, encontra-se justamente nesta relação. A narrativa do serial killer enquanto produtor e transmissor do horror (um horror artístico) que ele mesmo inflige é meu corpus de investigação – por isso, a necessidade de sua narração ser autodiegética. As obras ficcionais de crime têm frequentemente utilizado informações sobre matadores seriais reais para compor suas tramas. Porém, assim como Eichmann, o comportamento deste assassino real é tão trivial e suas motivações tão banais, que ele se torna ineficiente como narrador de seus próprios atos horríveis. Para que eventos e relatos tornem-se igualmente horríveis, argumento ser preciso alinhar estes dois elementos. Isto implica dizer que a narrativa deve afastar-se da monotonia discursiva do serial killer real. Há romances, entretanto, que optam por manter esta monotonia discursiva, como parece ser o caso de Zombie (1995), de Joyce Carol Oates. Se é correto afirmar tal coisa, como este assassino ainda mantém (se é que mantem) seu caráter horrível? Explorar as estratégias narrativas desta obra parece ser o caminho para responder a esta pergunta.

The paper considers some of the ways in which the female protagonists in a considerable number of works of fiction by 20th-century Canadian and American women writers are haunted, or “possessed,” by the deaths of their mothers. In the texts, these deaths – or maternal losses – are transfigured into things, into items that have substance, but that, peculiarly, are also found wanting.

In the beginning of the seventies Joyce Carol Oates published a
pseudo translation from the Portuguese of Portugal called The Poisoned Kiss and Other Stories From the Portuguese (1975) which was composed during the writing of her novel Wonderland (1971). Various critics have written about this Oates’ reverie, raising problems and questions. We will explore the two most important of its stories not only to understand the reason of the appearance of this book, but also to look at Oates besiegement and use of a pseudonym, to draw a parallel with Fernando
Pessoa. This article aims to highlight the book most important issues taking into account the relationship between Portugal and the United States and the way they draw attention to new problems and questions, thus hoping to contribute to new research in Anglo-Portuguese studies.

A three days’ Convention on “Bob Dylan and the Arts” is being announced for October 29-31, 2018 in the Roma Tre Department of Modern Languages, Literatures, and Cultures.

Focusing on the unceasing and colorful work of the 2016 Nobel Prize for Literature, the conference program aims at providing a multidisciplinary and transnational debate on Dylan’s contributions to the field of art and on his literary, philosophical, cinematic, and painting background. Thanks to the contribution of American, European, and Israeli scholars, including well-known dylanists as well as experts in other disciplines, the event is also meant to be an occasion to investigate American history and culture with an international, interdisciplinary, and diachronic approach.

In the chapter, Magdalena Łachacz proposes an in-depth analysis of the spectral characters
of the child/woman and the bridegroom. These ghostly spectres make abrupt
appearances at critical moments of the narrative set in the the Princeton community
during the cusp year of 1905 into 1906 following traumatic and haunting events. The
objectice of the introduction chapter is to place the novel within the confines of the
American gothic genre with typical gothic motives. This particular genre delivers a
disturbing experience with the dark and obscure aspects of American history with particular
interest in the institution of slavery and its problems of racial and sexual abuse.
In relation to the aesthetics of the American gothic, it is conceivable to associate the
specters in Oates’ novel with the demonic protagonists of Charles Brockden Brown’s
and Nathaniel Hawthorne’s fictional works—both pivotal writers of the genre.
Hence there exists the possibility of looking at the spectre as the representation of the
“Other” in typical American gothic oeuvres. Furthermore, one can perceive the relationship
between the experiences of the “otherness” and the problem of guilt suffered
by the protagonists of the privileged social class. Consequently, the scope of the analysis
finds itself engrossed on the issue of the traumatic repressed experiences that may
return by republication of postmodern slave narratives. Therefore, the question of
language becomes imminent for the gothic-like representation of the figure of the
“Other” in Oates’s novel. Nevertheless the text is permeated by cognitive pessimism.
“The Accursed” seem to establish, thanks to the gothic convention, an idiosyncratic
language capable of expressing the terror of the violent experiences within a community
environment where there is a lack of solidarity with the victims. In effect, Oates’s
novel can be approached as a step towards the aesthetic characterization of the
English summaries 673
“Other” in the recounting of the “unspoken crime” which remains the spectre that
continues to haunt contemporary American culture.

https://www.tandfonline.com/doi/full/10.1080/00111619.2019.1643285

This essay examines the distinct literary styles in Colm Tóibín’s The Master and Joyce Carol Oates’s “The Master at St. Bartholomew’s Hospital, 1914–1916” as differing outing politics that unveil Henry James’s secret closet. Tóibín’s reticent narrative style resonates with his careful and elusive depiction of James’s sexuality, whereas Oates’s gothic rendering of the master’s homosexuality brings out his carnal desires to the forefront. In consideration of the historical James’s sexual ambiguity, could the two writers’ differing strategies represent not contrasts but engaging accounts of the problematics of sexual identity? Attending to the biographical debates surrounding James’s homosexuality and informed by queer theories, this essay contemplates a more enabling outing politic that challenges the dichotomy between “repressed/closeted” and “out/camp” narratives. In this framework, the paper reads Tóibín’s and Oates’s differing literary styles – reticent psychological realism and gothic camp imagination – as differing outing politics to represent the queered James. It first combs through the biographical debates on James’s homosexuality in relation to queer outing politics. Situating Tóibín’s and Oates’s James fictions in this framework, I demonstrate that, read together, they show James as a queer subject that is forever elusive and refuses to be defined.

This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients, or customers. Visit www.csmonitorreprints.com for samples and additional information. Order a reprint of this article now.

Résumé

Bien que Joyce Carol Oates ait grandi à la campagne, dans le nord-ouest de l’État de New York, son œuvre est souvent comparée à celle d’écrivains du Sud tels qu’Edgar Allan Poe, William Faulkner et Flannery O’Connor car, comme eux, elle utilise le grotesque et dépeint la violence d’une manière crue. Bien qu’elle ne puisse être définie comme une écrivaine religieuse, ses écrits abordent souvent la présence de la religion dans la vie de ses personnages, pour en dénoncer l’inefficacité face aux problèmes séculaires. Cet article étudie le rôle de la religion dans la nouvelle “Little Maggie – A Mystery”, exemple rare chez Oates d’une histoire qui se déroule exclusivement dans le Sud. L’analyse d’autres évocations du religieux dans des textes dont l’action se déroule dans le Nord montre que l’espace du Sud incite Oates à envisager la religion autrement. On remarque toujours la condamnation de l’auteure pour la religion, mais cette nouvelle montre que l’espace du Sud s’en imprègne à un point tel que les personnages n’ont aucun recul en la matière.

Abstract

A native of upstate New York, Joyce Carol Oates’s fiction has often been compared to that of Southern writers such as Poe, Faulkner and O’Connor for the grotesque component of her artistic vision and raw treatment of violence. Though not a religious writer, Oates’s fiction often touches on religious aspects of her characters’ lives, where she typically shows the inability of religion to help with worldly problems. This article discusses Oates’s portrayal of religion in “Little Maggie – A Mystery,” a rare short story with an exclusively Southern setting. It analyzes the differences from other portrayals of religion in her more typical Northern settings with a view to discovering whether or not the use of the Southern scene incites the author to a different treatment of religion. Though the author’s condemnation of religion can still be felt, she illustrates the pervading Christ-haunted aspect of the South and shows her characters to be severely lacking in impartiality when it comes to the question of religious issues.

Joyce Carol Oates draws extensively on news stories, as well as on elements of her own family’s past, to find inspiration for her works of fiction. She has written about the Chappaquiddick incident involving Ted Kennedy and the JonBenet Ramsay murder case. She has worked the Niagara Falls Love Canal environmental scandal into the framework of The Falls and taken inspiration from sordid events from her own family’s past in the beginning of The Gravedigger’s Daughter. However, in none of these examples does Oates purport to relate the precise real-life “facts” of the historical events. Indeed, for an author who believes in the multiplicity of truths such a task would be superfluous, if it was in fact possible, given what she perceives as the inherently “error-prone” nature of our species. “Language,” she writes in her essay “On Fiction in Fact,” “by its very nature tends to distort experience. With the best of intentions, in recalling the past, if even a dream of the previous night, we are already altering – one might say violating – the original experience, which may have been wordless and was certainly improvised.” In response to what she sees as the problematic nature of language, memory and the artificial nature of writing, Oates has cultivated a self-described “psychological realism” that seeks to depict a greater realm of truth beyond the world of facts, that is to say the truth of emotion and felt experience, “states of mind [which are] real enough – emotions, moods, shifting obsessions, beliefs – though immeasurable.” This article compares both fiction and non-fiction works by Oates – notably, A Widow’s Story, Sourland, The Falls – in a discussion of the fluctuating frontier between the two genres and the notion of psychological Truth that this tenuous relationship reveals.

MONTEIRO, George, "Imaginary poets in a real world (an unpublished lecture, 1996)" (2016). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 9, Spring, pp. 298-309. Brown Digital Repository. Brown University. https://doi.org/10.7301/Z0SJ1HSM

Is Part of:

Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 9

A (im)possível unidade em Fernando Pessoa
[The (im)possible unity in Fernando Pessoa]

https://doi.org/10.7301/Z0SJ1HSM

ABSTRACT

Delivered on Feb. 8, 1996, at the Rhode Island School of Design, Providence, Rhode Island, this lecture was scheduled in conjunction with a Portuguese-government sponsored exhibition titled "Azulejo: Five Centuries of Portuguese Ceramic Tile." It served as an introduction for a general audience of non-specialists interested in learning about Fernando Pessoa's life and work. It surveys the basic facts of the poet's life: as a young student in English-language schools; his life in Lisbon; his theories and practices of heteronymism, including his account of the advent of those major heteronyms and their poems on March 8, 1914; his unsuccessful attempts to be recognized as a poet in the English tradition by having English-language poems printed in Lisbon but circulated only in the British isles. His peculiar triumph was that of a writer who, because he was bi-lingual and bi-cultural, was able to become a great Portuguese poet. As one critic, who is himself fluent in the English language and conversant with England's literary traditions, has put it, "[Pessoa] even \u2018reinvented' the Portuguese language, because he knew English."

RESUMO

Apresentada a 8 de Fevereiro de 1996, na Rhode Island School of Design (Escola de Desenho Gráfico de Rhode Island) em Providence, Rhode Island, EUA, esta palestra ocorreu em conjunto com a exposição "Azulejo: Five Centuries of Portuguese Ceramic Tile" (Azulejo: Cinco Séculos de Cerâmica Portuguesa), um evento patrocinado pelo governo português. A palestra serviu de introdução à vida e à obra de Fernando Pessoa, dirigindo-se a um público não-especializado. Abrangeram-se os aspectos principais da vida do poeta: seus tempos de jovem estudante em escolas de língua inglesa; sua vida em Lisboa; suas teorias e práticas de heteronimismo, inclusive seu testemunho da gênese dos principais heterónimos e seus poemas a 8 de Março de 1914; suas sucessivas tentativas frustradas em ser reconhecido como poeta de tradição inglesa, tendo seus poemas ingleses publicados em Lisboa mas distribuídos apenas nas ilhas britânicas. Seu triunfo peculiar foi o de um autor que, sendo bilíngue e bicultural, foi capaz de tornar-se um grande poeta português. Como escreveu um crítico, também fluente na língua inglesa e familiarizado com suas tradições literárias: "[Pessoa] chegou a 'reinventar' a língua portuguesa, porque conhecia o inglês".

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