Shipwreck Narratives: Out of Our Depth studies both the representation of shipwreck and the ways in which shipwrecks are used in creative, philosophical, and political works. The first part of the book examines historical shipwreck narratives published over a period of two centuries and their legacies. Michael Titlestad points to a range of narrative conventions, literary tropes and questions concerning representation and its limits in narratives about these historic shipwrecks. The second part engages novels, poems, films, artwork, and musical composition that grapple with shipwreck. Collectively the chapters suggest the spectacular productivity of shipwreck narrative; the multiple ways in which its concerns and logic have inspired anxious creativity in the last century. Titlestad recognizes in weaving in his personal experience that shipwreck-the destruction of form and the advent of disorder-could be seen not only as a corollary for his own neurological disorder, but also an abiding principle in tropology. This book describes how shipwreck has figured in texts (from historical narratives to fiction, film and music) as an analogue for emotional, psychological, and physical fragmentation.

The Plague Years collects scholarly and essayistic reflections on literary, visual, and sonic representations of the COVID-19 and other pandemics. These are placed alongside poetry and short fiction written in the first two years of quarantine or isolation. This range expresses the intellectual and imaginative struggle and ingenuity entailed in coming to terms with the rampant spread of disease and its emotional, cultural, and political consequences. The contributions are from diverse contexts: Africa (from Egypt to South Africa), China, Japan, the US, and Scandinavia. They consider some of the array of contemporary engagements: poems translated from Mandarin about the traumas of the frontline, Chinese calligraphic poetry printed on cartons of PPE, comments on the literary history of representing epidemics and pandemics, political analyses of the post-truth present, and the role of life-writing and gaming in an interrupted world. Given the generative and creative obliquity of many of its parts, this collection shifts how one thinks about the diseased present and the archival pasts on which it draws. The chapters in this book were originally published as a special issue of English Studies in Africa.

The world keeps turning to apocalypticism. Time is imagined as proceeding ineluctably to a catastrophic, perhaps revelatory conclusion. Even when evacuated of distinctly religious content, a broadly ecclesial structure persists in conceptions of our precarious life and our collective journey to an inevitable fate-the extinction of the human species. It is commonly believed that we are propelled along this course by human turpitude, myopia, hubris or ignorance, and by the irreparable damage we have wrought to the world we inhabit. Yet, this apprehension is insidious. Such teleological convictions and crises-laden narratives lead us to undervalue contingent, hesitant and provisional forms of experience and knowledge. The essays comprising this volume concern a range of writers' engagements with apocalyptic reasoning. Extending from a reading of Percy Bysshe Shelley's 'Triumph of Life' to critiques of contemporary American novels, they examine the ways in which 'end times' reasoning can inhibit imaginative reflection, blunt political advocacy or - more positively - provide a repertoire for the critique of complacency. By gathering essays concerning a wide range of periods and literary dispositions, this volume makes an important contribution to thinking about apocalypticism in literature but also as a social and political discourse. This book was originally published as a special issue of Studia Neophilologica.

The world keeps turning to apocalypticism. Time is imagined as proceeding ineluctably to a catastrophic, perhaps revelatory conclusion. Even when evacuated of distinctly religious content, a broadly ecclesial structure persists in conceptions of our precarious life and our collective journey to an inevitable fate-the extinction of the human species. It is commonly believed that we are propelled along this course by human turpitude, myopia, hubris or ignorance, and by the irreparable damage we have wrought to the world we inhabit. Yet, this apprehension is insidious. Such teleological convictions and crises-laden narratives lead us to undervalue contingent, hesitant and provisional forms of experience and knowledge. The essays comprising this volume concern a range of writers' engagements with apocalyptic reasoning. Extending from a reading of Percy Bysshe Shelley's 'Triumph of Life' to critiques of contemporary American novels, they examine the ways in which 'end times' reasoning can inhibit imaginative reflection, blunt political advocacy or - more positively - provide a repertoire for the critique of complacency. By gathering essays concerning a wide range of periods and literary dispositions, this volume makes an important contribution to thinking about apocalypticism in literature but also as a social and political discourse. This book was originally published as a special issue of Studia Neophilologica.

Shipwreck Narratives: Out of Our Depth studies both the representation of shipwreck and the ways in which shipwrecks are used in creative, philosophical, and political works. The first part of the book examines historical shipwreck narratives published over a period of two centuries and their legacies. Michael Titlestad points to a range of narrative conventions, literary tropes and questions concerning representation and its limits in narratives about these historic shipwrecks. The second part engages novels, poems, films, artwork, and musical composition that grapple with shipwreck. Collectively the chapters suggest the spectacular productivity of shipwreck narrative; the multiple ways in which its concerns and logic have inspired anxious creativity in the last century. Titlestad recognizes in weaving in his personal experience that shipwreck-the destruction of form and the advent of disorder-could be seen not only as a corollary for his own neurological disorder, but also an abiding principle in tropology. This book describes how shipwreck has figured in texts (from historical narratives to fiction, film and music) as an analogue for emotional, psychological, and physical fragmentation.

Making the changes maps the representation of jazz music and the occasions of its performance in South African literature and reportage. Throughout its history, South African jazz has been formed from complex transactions with other black Atlantic cultures, identities and political possibilities. The tactics these transactions have entailed and their effects on the cultural imaginary in the appropriation and manipulation of the music's meaning by creative writers, biographers and journalists are traced. By considering how South African writers participate in the global symbolic flows of jazz discourse, what emerges is how local contingencies have been managed through elaborating a relational history that has meaningfully cut across the categories and hierarchies of colonial and apartheid ideology. Making the changes maps jazz discourse from the legendary elan vital of the Sophiatown writers, through the King Kong reportage and white writing, to the agonised poetics of exile. The study then considers the role of dissonance in resistance writing of the Soweto poets of the 1970s and the Staffrider generation of the 1980s. In the final chapter it traces the contemporary use of jazz in a poetics of healing. The chapters are divided by 'solos', each of which discusses either a particular writer's engagement with jazz or the representation of a specific musician.