Fredric Jameson

It is probably not immediately obvious what interest a new theoretical study of science fiction holds for the mainstream adepts of literary theory; and no doubt it is just as perplexing to SF scholars, for whom this particular subgenre of the subgenre, the time-travel narrative, is as exceptional among and uncharacteristic of their major texts as SF itself is with regard to official Literature. To be sure, so-called alternative or counterfactual histories have gained popularity and a certain respectability; my personal favourite is Terry Bisson’s Fire on the Mountain.

The secret Mark McGurl discloses is the degree to which the richness of postwar American culture (we will here stick to the novel, for reasons to be explained) is the product of the university system, and worse than that, of the creative writing programme as an institutional and institutionalised part of that system.* This is not simply a matter of historical research and documentation,...

Once upon a time, when provinces still existed, an ambitious young provincial would now and again attempt to take the capital by storm: Midwesterners arriving in New York; Balzacian youths plotting their onslaught on the metropolis (‘à nous deux, maintenant!’); eloquent Irishmen getting a reputation in London; and Scandinavians – Ibsen, Georg Brandes, Strindberg, Munch – descending on Berlin to find a culture missing in the bigoted countryside. So also Henrik Pontoppidan’s hero, an unhappy clergyman’s son who flees the windswept coasts of Jutland for a capital city which is itself narrow-minded and provincial in comparison with the bustling centres of Europe.

There is a category into which Atwood squarely fits and without which she cannot fully be understood, a category of which at least 300 million English-speakers generally need to be reminded: she is a Canadian, and no little of her imaginative power comes from her privileged position above the border of the lower 48. The Fall is not properly grasped unless it is understood to be a fall into Americanism.

The three-stage process [of the building of the Katsura Imperial Villa] is perfectly discernible in the layout of the buildings as they survive. Beginning from the Ko-shoin with its celebrated Moon-Viewing Platform (tsukimi-dai) of bamboo, the Chū -shoin and the Gakki-no-ma were added, and finally the Shin-goten. All rooms face the pond at a uniform angle, whilst successively set back...