The texts’ narrative amorphousness and mixed media — what Randall calls “hybrid forms” (3) and what Daniel Davis Wood calls a revival of the avant-garde nouveau Roman post WWII European postmodernism — clearly represent the unsure approach to new ways to make sense of the trauma. The canon of such experimental 9/11 fiction is continually being set by cultural and literary critics.
Edinburgh is a place of absolute contrast and paradox. A sense of quality in men and things goes hand in hand with chaotic squalor. The rational squares and terraces of the New Town confront the daunting skyline of the Old. Slums still abut the houses of the rich. Wild mountain scenery impinges on the heart of the city. On fine summer days nowhere is lighter and more airy; for most of the year there are icy blasts or a clammy sea fog, the haar of the east coast of Scotland. Edinburgh is contemptuous of the present. In no other city in the British Isles do you feel to the same extent the oppressive weight of the past. Mary Queen of Scots and John Knox are a presence. The dead seem more alive than the living. There is a claustrophobic, coffin-like atmosphere that makes Glasgow, in comparison, seem a paradise of life and laughter. Moderate health is virtually unknown. Either people enjoy robust appetites, or they are ailing and require protection. Heady passions simmer below the surface. In winter the city slumbers all week in blue-faced rectitude, only to explode on Saturday evenings in an orgy of drink and violence and sex. In some quarters the pious must pick their way to church along pavements spattered with vomit and broken bottles.
Sure, there were some slightly different nuances here and there, but for the most part, he was the same man. I knew who he was, I knew he was going to win at the end of the day and I knew he wasn’t going to be dead forever. That’s not how comics work. In comics the hero never changes. He is predictable, unchanging and static in time. There is no ageing, no permanent dying, they are never losing for long and all comics end with the showdown of good verses evil and good will eventually, even if it takes some time, win. The superhero is someone we deeply trust.
The superhero narratives are the modern American mythology.
Over at Policy Mic, Adam Hogue uses my review of the work of Robert Jewett and John Shelton Lawrence to explore the cultural mythology surrounding the figure of the comic-book superhero.
Bewilderment is more than just confusion or perplexion. It is, in its most literal sense, the paralysing disorientation of waking to find oneself lost in the wild and overwhelmed, overawed, by the encompassing wilderness. Perhaps one follows a path through the world that is suddenly swallowed up by a forest or perhaps the path dwindles away, losing all distinction, as barren expanses surround it and stretch out towards the horizon. When brought to a halt by some obstruction of one’s intended course, bewilderment is the fog that descends and occludes all avenues for onward movement. Continue reading Dylan Nice’s Other Kinds→
thoughts on the what, the how, and the why of literature