Lost in the American City: Dickens, James, Kafka.
Lost in the American City : Dickens, James, Kafka. By JEREMY TAMBLING. Basingstoke and New York New York, state, United States
New York, Middle Atlantic state of the United States. It is bordered by Vermont, Massachusetts, Connecticut, and the Atlantic Ocean (E), New Jersey and Pennsylvania (S), Lakes Erie and Ontario and the Canadian province of : Palgrave. 2001. xvii + 229 pp. 32.50 [pounds sterling]. ISBN ISBN
International Standard Book Number
ISBN International Standard Book Number
ISBN n abbr (= International Standard Book Number) → ISBN m : 0-312-23840-1.
One of the most pleasing aspects of this very interesting study is attributable to Jeremy Tambling 'adding my own itinerary' to those of his diverse authors, revelling in 'the pleasure of walking the streets, my only way of seeing cities', but at the same time registering that he cuts a somewhat unusual figure in using James's The American Scene (1905) 'as guide book' (p. xv). If this seems a bit literalist lit·er·al·ism
1. Adherence to the explicit sense of a given text or doctrine.
2. Literal portrayal; realism.
lit for these more theorized times, it proves far less so than relying on, say, a contemporary Baedeker (there were four editions of United States of America UNITED STATES OF AMERICA. The name of this country. The United States, now thirty-one in number, are Alabama, Arkansas, Connecticut, Delaware, Florida, Georgia, Illinois, Indiana, Iowa, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Mississippi, Missouri, New Hampshire, , the last dating from 1909), in large part because Tambling is tracing impressions rather than facts, and because he remains adept at maintaining his focus upon a given book even when he needs to broaden the context, either by reference to another interpreter or by historical reconstruction. This is all the more necessary, and all the more welcome, as there cannot be very many readers--as Tambling obviously realizes--who, familiar with any one of his chosen texts (Dickens's American Notes American Notes for General Circulation is a travelogue by Charles Dickens detailing his trip to North America in January to June 1842. He traveled mainly on the east coast and Great Lakes area of both the United States and Canada, primarily by steamship, but also by rail and For General Circulation, James's The American Scene, and Kafka's Amerika / Der Verschollene), will have more than a nodding acquaintance with, or indeed any actual experience of, either of the others. Thus challenged, Tambling adopts the eminently sensible strategy of letting his texts speak as far as they can for themselves by way of sensitively chosen quotations (often of single words or short phrases, where necessary using longer passages), though much of his argument is designed to disclose where, and why, each of his authors is more or less wittingly wit·ting
1. Aware or conscious of something.
2. Done intentionally or with premeditation; deliberate.
Present participle of wit2.
n. Chiefly British
1. 'lost', or at the mercy of an unacknowledged prejudice, or too preoccupied with themselves to see as much as they might have done with the doors of perception truly open for reception. All three--Dickens, James, and Kafka--are here precisely not the masters of achievement they so obviously are at their best. But in going a little beyond what for most readers would be the canonical texts in this connection, Tambling is not so much asking us to see these texts seriously threatening the canon as demonstrating how very worthwhile each in its different way can be. There remain powerfully good reasons for preferring David Copperfield “Copperfield” redirects here. For other uses, see Copperfield (disambiguation).
David Copperfield may refer to:
Tambling begins as if determined to ride his thesis to death, or to be ridden by it; the motif of 'the man who was never heard of again' or variants of it come to seem a mere reflex, or a way of flexing the muscular intellect for the next zone of action. The chapter 'Dickens: Tales of Several Cities' takes on more than its lead title proposes, and indeed more than can comfortably fit into the space allotted al·lot
tr.v. al·lot·ted, al·lot·ting, al·lots
1. To parcel out; distribute or apportion: allotting land to homesteaders; allot blame.
2. it (twenty-three pages). But once focused, as in Chapters 2 and 3, on specifics (American Notes, followed by Martin Chuzzlewit Martin Chuzzlewit is a novel by Charles Dickens, considered the last of his picaresque novels, which was written and serialized in 1843-1844. Like nearly all of Dickens' novels, Martin Chuzzlewit was released to the public in monthly installments. ) Tambling opens up intriguing lines of enquiry, and exhibits an almost narrative skill in doing so. The twenty-plus pages on the Notes are surely the most telling estimate that they have thus far received, and the more familiar territory of Chuzzlewit is given a new lease of life by way of Tambling's investigation of spatial values, architecture, and ornamentation ornamentation
In music, the addition of notes for expressive and aesthetic purposes. For example, a long note may be ornamented by repetition or by alternation with a neighboring note (“trill”); a skip to a nonadjacent note can be filled in with the intervening . Far from being perturbed per·turb
tr.v. per·turbed, per·turb·ing, per·turbs
1. To disturb greatly; make uneasy or anxious.
2. To throw into great confusion.
3. on registering that the novel 'seems almost plotless', Tambling shows that 'it works in a perpetual present with a continuing power of exfoliation exfoliation /ex·fo·li·a·tion/ (eks-fo?le-a´shun)
1. a falling off in scales or layers.
2. the removal of scales or flakes from the surface of the skin.
3. and detail', and by blurring 'distinctions between inside and outside' (p. 61). The idea that the 'substance' of the novel is 'gaps, discontinuity dis·con·ti·nu·i·ty
n. pl. dis·con·ti·nu·i·ties
1. Lack of continuity, logical sequence, or cohesion.
2. A break or gap.
3. Geology A surface at which seismic wave velocities change. , folds within folds and space that moves about' (p. 75) sounds as if it might better be applied to Mallarme, but it comes at the end of a chapter as a kind of summary gesture (not, on this evidence, Tambling's forte), and the readings which precede it are a truer example of the 'power of exfoliation' under control.
What might almost have been called an 'interchapter' ('Writing in Reaction: Dickens, Thackeray, Trollope') follows. In this company the Dickens who has earlier seemed uncertain of his footing is praised for a 'doubleness' and 'ambiguity' (p. 89) uniquely his, though the concluding subsection 'Dickens in 1867' suggests that 'his inability to read America [...] pointed up his own constituted subjectivity as split, showing the subject as not in control, and aware of that as a source of danger' (p. 99) as a preparation for eighty pages on Henry James. The existing literature on James's 'obscure hurt' is taken as read, or at least not referred to, but it is as a text written out of, and against, hurt, 'a text implicitly aware of trauma' (p. 101), that Tambling reads The American Scene. This is more of a 'loose baggy monster' than its (happily now more numerous) admirers usually like to admit, but by a judicious use of The Ivory Tower ivory tower
A place or attitude of retreat, especially preoccupation with lofty, remote, or intellectual considerations rather than practical everyday life. (pp. 122-27) and of the short story 'Crapy Cornelia', and by threading H. G. Wells's The Future in America (1906) through the sometimes rather dense cluster of specifics, Tambling sustains the thrust of his argument up to and indeed beyond the point where James ends in 'quiet desolation' (p. 174) in Florida, leaving his 'California' chapter unwritten LAW, UNWRITTEN, or lex non scripta. All the laws which do not come under the definition of written law; it is composed, principally, of the law of nature, the law of nations, the common law, and customs. and so, in a sense, his book unfinished. The Kafka text which occupies the last sixteen pages of Lost in America--Der Verschollene (The Man Who Was Never Heard Of Again)--looked to have been left unfinished (as the story 'The Stoker') on its author's death, only to emerge posthumously post·hu·mous
1. Occurring or continuing after one's death: a posthumous award.
2. Published after the writer's death: a posthumous book.
3. as rather more finished than The Castle or The Trial, though Tambling shows that 'nothing in the text can be reduced to a thesis' and that 'the novel plots other labyrinths than [Karl Rossman, the stoker] wanders in'. The fact that Kafka never actually knew an America other than the one that either fiction or the emigre members of his family could offer him underpins the point that 'to be lost without trace is possible anywhere' (p. 197), which prompts Tambling to end his book wondering whether the American city may be 'a place for subjects without power, who have had [...] a sense of their subjectivity mauled' (p. 198), though he poses, and leaves, this issue as an unanswered question.
In what is not a long book it has nevertheless been a long trip from the unforgettable opening to Bleak House Bleak House
a fortune is dissipated by the long legal battle of Jarndyce vs. Jarndyce, and the heir dies in misery. [Br. Lit.: Dickens Bleak House]
See : Injustice
Bleak House (pp. 16-23; Tambling deals sensitively with this old chestnut) to the Karl Rossman who is forgotten, and forgets himself, in 'The Nature Theatre of Oklahoma'. The details which are such a crucial part of Tambling's argument are always fascinating, but they come thick and fast and leave the final impression that some of the dust stirred up is taking its time to settle. But anyone interested in these authors and in the idea of the city will find Lost in the American City rewarding and revealing.
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