Joanna Walsh’s ‘Seed’

The first thing one notices about Joanna Walsh’s online novella Seed is the quality of the design. Seed’s aesthetic is very consistent, and was obviously designed with an eye to the material at hand. For all this we have its illustrator Charlotte Hicks to thank, as well as the digital publishing company responsible for designing the platform on which the text is hosted. Seed is optimised for iOS, and, as the site tells us, is probably better viewed there, but it can also be read on a laptop or a PC.

The reader begins by being presented with seventeen different plants which open up onto different lexia, with suggestive and minimalistic titles such as ‘Baby’, ‘Touch’ or ‘Red’. Each one gives a brief insight into the life of an eighteen year old woman living in a middle-class housing estate in suburban England, coming to terms with herself, her environment, the people around her and the reality of her incipient young adulthood. By presenting the reader with seventeen different starting points (ignoring the opening explanatory remarks for a moment), and the means of proceeding in any way they might choose, the text emulates the same provisional and tentative steps that the narrator concurrently takes in the development of her own identity. In an interview, Walsh explains that the rhizoidal orientation of the text provided her with the opportunity to disorientate the reader, and perhaps engender in them the same uncertainty that the protagonist of the novella may be feeling at any given time, so that the reader has:

no sense of reading left to right, of the weight of the book, of how far they were through, or, sometimes, of the direction within the narrative.

Seed is therefore doing very deliberate and self-conscious things with the particularities of its format, typical of texts which, overtly or otherwise, draw attention to their digitality. Insofar as a firm distinction can be drawn between these two facets of the work, Seed therefore introduces a coherence/tension between its form and its content.

In a design quirk which enables this sense of openness that Seed conveys, the reader has the option of changing the text’s visual interface in order to display differently-coloured vines intertwined between each of the plants. The colours refer to each lexia’s subject matter, and inverts the standardised and industrial nature of colour-coding, a tendency, or obssession, that the narrator exhibits throughout the text:

Fruits in the supermarket. They’re a different species. Those strawberries all white in the middle all the year round, like crunchy peaches. Everything so shiny. Not a speck of earth anywhere. Why would there be? It goes straight from the formica shed to our formica kitchen. Once cut my mother wraps it in cling film and puts it in the fridge.

The narrator’s sustained attention to post-industrial artefacts, the symptoms of contemporary, or then-contemporary suburban living, is the strongest aspect of Seed. The narrator’s oscillation between a tone of matter-of-fact inventory and syntax-rupturing anxiety, enacts the very process of interpretation and the fact that so much narrative time is deployed in coming to terms with such quotidian objects, made to seem strange by their presence in a narrative medium known for attention to other, less strange things, intensifies the effect:

The doves in our garden say something else no they say somewhere else from their tall perspective looking down on lawns mowed with stripes, somewhere nature isn’t the same kind we have round here.

The site’s drawing together of Seed’s structure and content, finds a corollary in the text’s actual word usage. Walsh uses leitmotifs, particularly the names of plants or descriptions of colours in order to string each unit of text together with one another in more subtle ways, without making use of an overt visual interface.

It should be noted that the text is not as radically discontinuous as it might at first seem, or certainly was not regarded as such by Walsh, who said the following in an interview:

I’ve been thinking about the authority I’m still claiming as an ‘author’ in Seed; despite the degree of reader-control offered by the project, it’s still a fairly traditional ‘authorial’ work.

I had to write Seed as a linear text to ensure it will read ok for anyone who wants to follow the temporal narrative. That said, I never write in a ‘linear’ fashion, but in one that resembles the Seed reading experience: I write phrases, notes, paragraphs, then brings them together on shuffle, until they work.

Walsh’s comments may be surprising for those familiar with her writing methodology, which involves the use of cut-ups, or other aleatoric methods which introduce an element of chance into the composition process. It is surprising also, for those who are familiar with the somewhat niche history of digital or hypertextual literature. For many of hypertext’s trailblazing practitioners, such as Shelley Jackson or Michael Joyce, the crux of hypertextual literature was the game-playing that new digital formats allowed the author to engage in as an absent centre of meaning, which expedited the then-extremely trendy dalliances with post-structuralist philosophy and critical theory in a digital context. Within Seed’s units of text after all, there is no opportunity for interaction, except insofar as the text requires you to turn the page. In an interview with Review31, Walsh described how Seed barely resembles a hypertext in the original sense of the term at all, and that it is much better understood as a traditional work focalised around the author’s vision.

This is true, firstly for the structural reasons already outlined, but also because Seed’s formal architecture is best understood as functioning in the same way as literary works in print do, in that they imply, or gesture, far more readily than they state directly. This is axiomatic for all novels worthy of the name, but it presents an interesting means of thinking about how narrative works in the context of Seed in particular. While it might seem to present some amount of freedom or capacity for interaction, Seed is in fact circumscribing you even as it offers the chance of liberation. This has a nice visual metaphor in Seed’s visual interface which deliberately places a number of other flowers beyond the reader’s reach in darkness, suggesting both the thwarted ambition to move beyond the text that we’re presented with, and, as I’ve said already, the myopia of the narrator in her own environment:

it’s a fairly tight work, and I’ve said what I wanted to say in it. I love the idea of locked passages: part of my intent was to create a feeling of implied space beyond what is described (isn’t that the intent of most novels, to create, in however abstract a sense, a ‘world’, even if ‘world’ means a set of conceptual parameters?). I’d like to do a print edition to see if and how the circle of nonlinearity could be squared.

Though we have the ability to read Seed in any order we might like, each section is up to five pages long, and therefore requires us to read chronologically for a far greater length of time than hypertexts of the nineties do. Whether this can be attributed to the now mainstream nature of micro-textual formats, which requires literature to aspire to something else is probably a question for others to answer. Personally speaking, if writers working digitally can produce works as good as Seed, I won’t be unduly detained by the sociological reasonings why.

How big are the words modernists use?

It’s a fairly straightforward question to ask, one which most literary scholars would be able to provide a halfway decent answer to based on their own readings. Ernest Hemingway, Samuel Beckett and Gertrude Stein more likely to use short words, James Joyce, Marcel Proust and Virginia Woolf using longer ones, the rest falling somewhere between the two extremes.

Most Natural Language Processing textbooks or introductions to quantitative literary analysis demonstrate how the most frequently occurring words in a corpus will decline at a rate of about 50%, i.e. the most frequently occurring term will appear twice as often as the second, which is twice as frequent as the third, and so on and so on. I was curious to see whether another process was at work for word lengths, and whether we can see a similar decline at work in modernist novels, or whether more ‘experimental’ authors visibly buck the trend. With some fairly elementary analysis in NLTK, and data frames over into R, I generated a visualisation which looked nothing like this one.*

*The previous graph had twice as many authors and was far too noisy, with not enough distinction between the colours to make it anything other than a headwreck to read.

In narrowing down the amount of authors I was going to plot, I did incline myself more towards authors that I thought would be more variegated, getting rid of the ‘strong centre’ of modernist writing, not quite as prosodically charged as Marcel Proust, but not as brutalist as Stein either. I also put in a couple of contemporary writers for comparison, such as Will Self and Eimear McBride.

As we can see, after the rather disconnected percentages of corpora that use one letter words, with McBride and Hemingway on top at around 25%, and Stein a massive outlier at 11%, things become increasingly harmonious, and the longer the words get, the more the lines of the vectors coalesce.

Self and Hemingway dip rather egregiously with regard to their use of two-letter words (which is almost definitely because of a mutual disregard for a particular word, I’m almost sure of it), but it is Stein who exponentially increases her usage of two and three letter words. As my previous analyses have found, Stein is an absolute outlier in every analysis.

By the time the words are ten letters long, true to form it’s Self who’s writing is the only one to manifest it at a rate of above 1%.

Angela Nagle’s ‘Kill all Normies’

It should be stated at the outset that the structure of Angela Nagle’s Kill All Normies deflects the inevitable critiques that will comes its way. Kill All Normies cannot be evaluated in the same way as other non-fictive socio-political texts, given the fact that it supposedly presents an anthropological investigation into a particular subculture with no references, no overall evaluation of sources, methodological reflection, statistics, ethnographic accounts, interviews, review of extant literature or even definition of terms. All too often, phrases which are evidently freighted with significance are deployed (e.g. ‘ultra Puritanism’) without explication. The resulting indeterminacy of the ideas the text aims to convey find reflection in the mechanics of Nagle’s prose, which manifests repetition, sentence fragmentation, typos, random capitalisations, poor formatting, etc. Kill All Normies is a book badly in need of an editor.

While we could attribute this to the nascency of the field, Nagle’s analysis involves discussing the work of thinkers such as Frederich Nietzsche, the Marquis de Sade and Antonio Gramsci. Furthermore, manifestations of a fervent, newly-emboldened right are hardly new, and it is on this basis that I would have appreciated at least an apologetic preface to account for the reasons why this genealogy of the alt-right is so decidedly impressionistic. Of course, to dwell on these points would be unfair, given that that it is the publisher’s aim, as I understand it, to get the book out while these issues remain topical. While Donald Trump is the President, things cannot be expected to remain in their current state for long.

Nagle clearly possesses a broad knowledge of the irredentist sect of the moment, and is aware of how the fragmented 4chan, 8chan, the PUA and MRA movements initially developed, clashed, split and exist in their current, fragmentary state. As a catalogue of the horrors inflicted by the alt-right on women, Nagle’s book is very effective. Problems arise in Nagle’s attempts to correlate the growth of ‘this network,’ with the current American administration. Trump is a disaster on Twitter of course, but it is important to remember that he is not just as a troll, but as the son of a real estate developer and a reality TV star given a platform by a number of media outlets despite his abhorrent views, because he represents a revenue opportunity. Throughout the book, the collective actions of trolls is given far more credit than it deserves in bringing far right opinion into mainstream media discourse, at the expense of media outlet’s puff profiles on dapper Nazis, or their consistent expressions of bigoted views.

Another crux of Nagle’s argument is that contemporary manifestations of the left, with its sustained focus upon identity politics, is responsible for the aggressive tone of the alt-right. It’s at least slightly bathetic to come, after sustained research upon such a specific sub-culture that would seem to be possible only within the contemporary, networked media landscape, to come away with a variation on horseshoe theory, i.e. there’s extremes on both sides of the argument. Nagle undergirds this line of reasoning from her concept of the notion of transgression, which she traces through the writings of de Sade and Nietzsche. As Nagle would have it, the alt-right is both an avant-garde and the true inheritor of the taboo-busting tendencies of ‘the 60s’ (how leftist activism in its entirety is being encompassed in this case is not clear) in its ‘libertinism, individualism, bourgeois bohemianism, postmodernism, irony and ultimately…nihilism’. In proving that the feminist movements of the sixties (civil rights movements are not discussed in any depth), derived at least some of their impetus from de Sadean notions of transgression, Nagle cites right-wing thinkers who believed feminism was out to destroy the nuclear family, not necessarily the sources I would defer to in characterising second-wave feminism.

I have not read enough history or theory to cast informed doubt on the idea that second-wave feminism was ‘very much on the side of the transgressive tradition of de Sade,’ nor to what extent it exists upon a de Sadean / Rousseauist spectrum, as Nagle argues, but I am definitely uncertain, as to whether the struggle for feminism ‘is essentially a moral one,’ as she contends. Perhaps within some sectors it is, but I would think that the struggle for equality is more a matter of political economy than morality, and that substantial contingents of feminist theory and praxis would dispute that any one morality constructed via any one text or male thinker ones, is adequate in characterising what motivates its activists. I am of course, open to being corrected on this point, but this is one of the most glaring instances in which sources are lacking and broad, indistinct cultural trends are being made to bear a significant burden of proof. To give a final example, I have no notion what phrases such as ‘racial politics that has held since WWII’ are supposed to amount to, or mean.

The chapters in which these arguments are made would probably have benefited from more systematic, and perhaps chronological account of the left from the sixties to the present day, rather than Nagle’s tendency to move back and forth interchangeable between the eighteenth century, the nineteen sixties/nineties. An analysis rooted in chronology might have focused Nagle’s attention on trends such as lapses in class consciousness, (expedited by anti-union policies enacted by British and American administrations), the war on drugs, (a veneer for a sustained assault upon communities of colours’ capacity to organise themselves) the recession of the early 2000’s or globalisation, economic developments I would identify as more pertinent to political trends on the left than semiotics of the transgressive.

In portraying specific trends within intersectional leftist discourse Nagle identifies the calling out of racism and sexism as ‘crying wolf’, false calls for help which presaged the arrival of ‘the real wolf’, or the alt-right. Nagle also characterises the school of thought by focusing on how it manifests itself within tumblr sub-groups such as otherkin, spoonies, and people who get their limbs surgically removed [citation needed] because they identify as disabled, rather than sustained attention to the writings or activism of bell hooks or Angela Davis. By delineating intersectionality as people identifying as dragons (which isn’t to throw them under the bus, identify as whatever you want, I don’t mind) undermines the very real struggles of trans people seeking to eke out safe existences for themselves. To take just one Guardian story from yesterday as indicative, a survey of young LGBTQ+people arrived at the finding that 50% of trans teens have attempted suicide. Personally I think solidarity in the struggle for their rights is a good thing and I’m not sure a leftism willing to relegate trans or race issues to second place is a leftism worth having, which is why the polarity Nagle upholds at one stage: ‘Milo and his Tumblr-dwelling gender fluid enemies’, is so mystifying. Milo’s enemies could just as easily be described as women of colour in the real world, or the trans folk he was planning to out during his campus tour. It is unfortunately typical for Nagle’s analyses to take insufficient account of power relations, providing sympathetic points of departure for alt-right agents, such as male suicide rates and an ‘intolerant’ or ‘dogmatic’ feminists, but not leftist contingents composed of BAME groups or the disabled.

Nagle’s argument that the alt-right developed in opposition to the left is also peculiar, as it seems to me at least that racism, anti-semitism, isolationism emerges from a political tendency that is readily identified. Further, rather than taking Milo seriously when he says things like this, one could argue that these figures foremost within the alt-right have opportunistically pinpointed a number of demographic scapegoats which media platforms are not above bashing persistently. Perhaps longer term historical trends such as racism or the war on terror might be more to blame for these views entering the mainstream than the left, or Gramscian theory.

In closing, I will note that Nagle maintains the irksome canard, of failing to meaningfully distinguish liberalism from leftism. This intermittently makes for entertaining reading when she attempts to represent the performatively self-abnegating comments of no-marks such as Arthur Chu as symptomatic, while simultaneously implying that leftist academic discourse, summarised relative to Noam Chomsky and Gramsci, has been co-opted by a right-wing insurgency and was instrumental in deciding the 2016 presidential election. Whether leftism was responsible for Trump, or is pathologically incapable of forming coalitions of power, progressive or otherwise, Nagle never seems quite sure.

The golden rule holds true; never trust a writer who cites the Sokal hoax.

Collocations in Modernist Prose

I have recently begun to experiment with Natural Language Processing to determine how particular words in modernist texts are correlated. I’m still getting my head around Python and NLTK, but so far I’m finding it much more user-friendly than similar packages in R.

Long-term I hope to graph these collocations in high-vector space, so that I can graph them, but for the moment, I’m interested in noting the prevalence of the term ‘young man’, Self and Baume being the only authors that have female adjective-noun phrases, and the usage of titles which convey particular social hierarchies; Joyce, Woolf and Bowen’s collocations are almost exclusively composed of these, as is Stein’s, with the clarifier that Stein’s appear shorn of their ‘Mr.’, ‘Miss.’ or ‘Doctor’.

Here’s all the collocations in the modernist corpus:

young man; robert jordan; new york; gertrude stein; old man; could see; henry martin; every one; years ago; first time; long time; hugh monckton; great deal; come back; david hersland; good deal; every day; edward colman; came back; alfred hersland

Canonical modernist texts:

young man; robert jordan; gertrude stein; henry martin; new york; every one; old man; could see; years ago; long time; hugh monckton; first time; great deal; david hersland; come back; good deal; every day; edward colman; alfred hersland; mr. bettesworth

Contemporary texts, Enright, Self, Baume, McBride:

fat controller; phar lap; von sasser; first time; per cent; could see; old man; one another; even though; years ago; new york; front door; young man; either side; someone else; dave rudman; last night; living room; steering wheel; every time

Djuna Barnes

frau mann; nora said; english girl; someone else; long ago; leaned forward; london bridge; come upon; could never; god knows; doctor said; sweet sake; first time; five francs; terrible thing; francis joseph; hôtel récamier; orange blossoms; bowed slightly; would say

Eimear McBride

kentish town; someone else; first time; last night; jesus christ; something else; years ago; five minutes; every day; hail mary; take care; next week; arms around; never mind; every single; little girl; little boy; two years; soon enough; come back

Elizabeth Bowen

mrs kerr; lady waters; mrs heccomb; major brutt; mme fisher; lady naylor; miss fisher; good deal; said mrs; first time; lady elfrida; one another; young man; colonel duperrier; aunt violet; last night; ann lee; one thing; sir robert; sir richard

Ernest Hemingway

robert jordan; old man; could see; colonel said; gran maestro; catherine said; jordan said; richard gordon; long time; pilar said; thou art; pablo said; nick said; bill said; girl said; captain willie; young man; automatic rifle; mr. frazer; david said

F. Scott FitzGerald

new york; young man; years ago; first time; sally carrol; several times; fifth avenue; ten minutes; minutes later; richard caramel; thousand dollars; five minutes; young men; evening post; old man; next day; saturday evening; long time; last night; come back

Gertrude Stein

gertrude stein; every one; david hersland; alfred hersland; angry feeling; family living; independent dependent; jeff campbell; julia dehning; mrs. hersland; daily living; whole one; bottom nature; madeleine wyman; good deal; mary maxworthing; middle living; miss mathilda; mabel linker; every day

James Joyce

buck mulligan; said mr.; martin cunningham; aunt kate; says joe; mary jane; corny kelleher; ned lambert; mrs. kearney; stephen said; mr. henchy; ignatius gallaher; father conmee; nosey flynn; mr. kernan; myles crawford; cissy caffrey; ben dollard; mr. cunningham; miss douce

Marcel Proust

young man; faubourg saint-germain; long ago; caught sight; first time; every day; one day; great deal; des laumes; young men; could see; quite well; next day; one another; would never; nissim bernard; victor hugo; would say; louis xiv; long time

Samuel Beckett

said camier; said mercier; miss counihan; lord gall; miss carridge; mr. kelly; panting stops; said belacqua; mr. endon; said wylie; said neary; one day; otto olaf; dr. killiecrankie; come back; vast stretch; mrs gorman; push pull; something else; ground floor

Sara Baume

even though; tawny bay; living room; old man; passenger seat; bird walk; maggot nose; shut-up-and-locked room; stone fence; food bowl; lonely peephole; low chair; old woman; kennel keeper; rearview mirror; shih tzu; shore wall; safe space; every day; oneeye oneeye

Virginia Woolf

miss barrett; mrs. ramsay; mrs. hilbery; young man; st. john; could see; years ago; peter walsh; mrs. thornbury; miss allan; said mrs.; young men; mrs. swithin; human beings; wimpole street; mrs. flushing; mr. ramsay; mrs. manresa; sir william; door opened

Anne Enright

new york; per cent; eliza lynch; dear friend; years old; even though; first time; came back; years ago; long time; michael weiss; señor lópez; living room; every time; looked like; could see; one day; said constance; pat madigan; mrs hanratty

Will Self

fat controller; phar lap; von sasser; one another; old man; could see; first time; per cent; dave rudman; let alone; front door; young man; skip tracer; quantity theory; jane bowen; los angeles; young woman; either side; charing cross; long since

Flann O’Brien

father fahrt; good fairy; father cobble; said shanahan; mrs crotty; said furriskey; said lamont; mrs laverty; one thing; sergeant fottrell; said slug; old mathers; public house; far away; cardinal baldini; monsignor cahill; mrs furriskey; red swan; black box; said shorty

Ford Madox Ford

henry martin; hugh monckton; edward colman; privy seal; mr. bettesworth; mr. fleight; young man; mr. sorrell; sergius mihailovitch; young lovell; new york; jeanne becquerel; lady aldington; kerr howe; anne jeal; miss peabody; mr. pett; great deal; marie elizabeth; robert grimshaw

Jorge Luis Borges

ts’ui pên; buenos aires; pierre menard; eleventh volume; richard madden; nils runeberg; yiddische zeitung; stephen albert; hundred years; erik lönnrot; firing squad; henri bachelier; madame henri; orbis tertius; vincent moon; paint shop; seventeenth century; anglo-american cyclopaedia; fergus kilpatrick; years ago

Joseph Conrad

mrs. travers; mrs verloc; mrs. fyne; peter ivanovitch; doña rita; miss haldin; mrs. gould; assistant commissioner; charles gould; san tomé; chief inspector; years ago; captain whalley; could see; van wyk; old man; dr. monygham; gaspar ruiz; young man; mr. jones

D.H. Lawrence

young man; st. mawr; mr. may; mrs. witt; blue eyes; miss frost; could see; one another; mrs bolton; ‘all right; come back; said alvina; two men; of course; good deal; long time; mr. george; next day

William Faulkner

uncle buck; aleck sander; miss reba; years ago; dewey dell; mrs powers; could see; white man; four years; old man; ned said; division commander; general compson; miss habersham; new orleans; uncle buddy; let alone; one another; united states; old general

How big are the words modernists use?

It’s a fairly straightforward question to ask, one which most literary scholars would be able to provide a halfway decent answer to based on their own readings. Ernest Hemingway, Samuel Beckett and Gertrude Stein more likely to use short words, James Joyce, Marcel Proust and Virginia Woolf using longer ones, the rest falling somewhere between the two extremes.

Most Natural Language Processing textbooks or introductions to quantitative literary analysis demonstrate how the most frequently occurring words in a corpus will decline at a rate of about 50%, i.e. the most frequently occurring term will appear twice as often as the second, which is twice as frequent as the third, and so on and so on. I was curious to see whether another process was at work for word lengths, and whether we can see a similar decline at work in modernist novels, or whether more ‘experimental’ authors visibly buck the trend. With some fairly elementary analysis in NLTK, and data frames over into R, I generated a visualisation which looked nothing like this one.*

*The previous graph had twice as many authors and was far too noisy, with not enough distinction between the colours to make it anything other than a headwreck to read.

In narrowing down the amount of authors I was going to plot, I did incline myself more towards authors that I thought would be more variegated, getting rid of the ‘strong centre’ of modernist writing, not quite as prosodically charged as Marcel Proust, but not as brutalist as Stein either. I also put in a couple of contemporary writers for comparison, such as Will Self and Eimear McBride.

As we can see, after the rather disconnected percentages of corpora that use one letter words, with McBride and Hemingway on top at around 25%, and Stein a massive outlier at 11%, things become increasingly harmonious, and the longer the words get, the more the lines of the vectors coalesce.

Self and Hemingway dip rather egregiously with regard to their use of two-letter words (which is almost definitely because of a mutual disregard for a particular word, I’m almost sure of it), but it is Stein who exponentially increases her usage of two and three letter words. As my previous analyses have found, Stein is an absolute outlier in every analysis.

By the time the words are ten letters long, true to form it’s Self who’s writing is the only one above 1%.

The Ideology of Wonder Woman

Diana’s ideological apprenticeship begins in her childhood, when she inherits a Manichaean account of her history, both personal, and familial. According to the schema provided by Queen Hippolyta, all humans used to live in a golden age of conflict-free egalitarianism which was destroyed by Aries, the film’s intermittently real antagonist, who sewed discord in the hearts of men, and made them turn against one another. The Amazons were a superhuman race created by Zeus in order to mediate relations between men, and for a time this was apparently successful, until the Amazons rose up in a violent insurrection against this narrowly circumscribed role (which is compared with slavery), to establish a militaristic community on the island of Themyscira. The film gives no indication that it’s a collectivist society, but there’s no direct evidence of private property, and everyone seems to know each other. It also suits my argument to assume that it’s a communist utopia.

Diana’s objective on leaving the island with American spy-pilot Chris Pine is to kill Ares, the divine agent of conflict that she believes to be the only possible explanation for World War I. Once Ares dies, she believes, the war will come to an immediate end, as the corruption within men’s hearts will be done away with . Chris Pine indulges Diana in this regard for most of the film, but believes it to be unlikely that Ares truly exists in the way that Diana envisions.

When Erich Ludendorff is dispatched, the avatar, as Diana believes, of Ares, she is dismayed to find that the military-industrial infrastructure, and the great war more generally, seems to be proceeding anyway. Chris Pine then explains to Diana that the conflict is the inevitable outcome of mankind’s inherent flaws (tendencies towards violence, militarism), than the influence of Ares, though in his account, the number of squabbling aristocrats in Eastern Europe and nationalism don’t gets a mention, nor the Aristotelean account of the ways in which unequal societies are more unstable, a view Diana would be familiar with, given the extent of her erudition. I consider this within the context of Chris Pine’s general demeanour and/or blatant impatience when Diana challenges his analyses in any given context and I don’t think it’s a coincidence that Chris Pine’s explanations for Anglo-American societal customs are unsatisfactory or simplistic; it’s indicative of a general condescension his character exhibits towards Diana.

It turns out that David Thewlis’ character, the seemingly benign member of Imperial War Cabinet, is in fact Ares, and I think what is at stake in this is the text’s perspective on revolutionary violence.

As Diana’s childhood understanding holds it, the struggle for a better society is a question of fights between the already empowered, the god Ares and herself. Ordinarily I would say this they are analogous to the landholder class, but Noam Chomsky’s impressionistically applied, and vaguely conspiratorial ‘masters of mankind’ category might be more adequate in this case. As such, the political struggle is a war of personalities, one which is, in Diana’s words, not about what one ‘deserves’, i.e. the fulfilment of the social compact, but what one ‘believes’, the sincerity of one’s desire to improve the world. That one’s intentions are sufficient justification for any given course of action in contrast to an appeal to inherent human dignity overlooks the fact that the Amazons initially emancipated themselves from slavery by violent means and further re-endorses the reactionary aspects of her binaristic childhood education of good v. evil, without leaving space for possible change in the future. Ares, as the linchpin of all evil, avarice and imperialism exists, a transcendental representation of evil, but no such space is provided for an aspiration to true good, only a belief, or faith, that one’s ‘good’ actions amount to an improvement, which is due to woman and man’s essential nature, as flawed.

In many ways this film traces the trajectory of a young woman moving away from home, finding her reality was not as straightforward as she imagined, but accepting a sequence of base level facts as a foundation for any further analyses or beliefs, facts provided by Chris Pine, that skulduggery and incrementalism are the only legitimate path to political change. Which is very open to argument.

This political reality Diana is re-construed within requires a Lacanian account. Wonder Woman relates Diana’s entry into a relation with the name of the father; a repressive and constrained reality beyond the complete pleasure and authentic relation with her mother/the broader community of Amazons on Themyscira, which runs parallel to the rather simplistic bildung maturity narrative. The scene where Diana quizzes Chris Pine about his penis size, then talks about his watch is the most revealing in this context, given that the watch was a gift from his father, it’s freighted with patriarchal baggage, which is bolstered by the fact of him giving it to her in the moment that he consolidates their relationship with his male speech act. Chris Pine’s watch, represents both mechanistic industrial and patriarchal time, and his phallus, and exists in contrast to the nostalgic eternal past of Themyscira, reflects Diana’s internalisation of a patriarchal capitalistic modality of existence. At a crucial moment in the film’s final battle, the film’s utterly spurious love-sex plot with Chris Pine, allows her to break out of a steel enclosure Ares forms around her, rather than for example, having her aunt/her mother/the fate of collectivism in Themyscira prove sufficient motivation. Further, when in London, the smoky, industrialised, poverty-striken landscape, her ‘feminine’ attributes come to the fore to a greater extent, she is drawn to a baby she sees in the street, for example.

Utopias in Wonder Woman are usually framed and evoked by the opposite of the London landscape; foliage and greenery, as in Themyscira, the moment that Ares reveals his own prospective vision of a conflict-free utopia to Diana, and in one of the final shots in the film, which features Diana and the soldiers, formerly on opposite sides in the war, embracing in a bombed-out airfield, framed by trees and the setting sun. This reflects a fusion of the industrialised, capitalist and patriarchal order and the soft, pre-industrial, earth mother that Diana and the Amazons embody.

The final point to grasp is that the film provides the audience with a personification of transcendental evil in the figure of Ares, but no means of grasping a transcendental good, because the evil is also present within people. People are capable of carrying out good acts, but only in the form of futile sacrifices of themselves as representatives of the lumpen or in moments of collective celebration as in London at the end of the war, but these cannot be translated into broader political action, or a societal paradigm.

Far from the usual case wherein, as a revolutionary communist, one identifies with ‘the bad guy’ in films such as these because of the extent to which these films endorse ownership of private property, these models of agrarian utopia do not provide a stable means of proceeding. If that utopia is in any way analogous to the one that prompted the Amazons to revolt, it’s fairly obvious that it will depend on female exploitation. The notion that the Amazons provide a curative for man’s hardness (industrialisation, time, violence) with their softness, is a binary construction, which is why Isabel Maru is the villain of the film; she is deformed, ugly, Other, she fails to live up to the soft feminine ideal and crosses over into monstrosity, due to her interest in science, industrial processes. Both women, of course, go weak at the knees over Chris Pine.

Wonder Woman proves that Maoism is the only true revolutionary struggle as it mobilises the lumpen, but after or during the revolution, you have to kill all the men.

Modelling Humanities Data Blog Post #2: Different Methods of Modelling data

This blog post will focus on the 1641 depositions project, based at Trinity College Dublin. The aim of the project was to digitise approximately 8,000 depositions dealing with the 1641 uprising in Ireland and provide them online, which amounts to 19,010 pages of text bound in 31 volumes. Each page was photographed in high-resolution, transcribed and marked up in TEI.

The transcription which was carried out preserved variant and incorrect spellings, as well as subsequent emendations, such as struck out words or marginalia. These are formatted in a way which emphasises their separateness from the ‘main’ text. These accounts were initially taken spontaneously, as a means of gathering information about the uprising from those who were affected by, or witnessed, the disturbances. This first wave of depositions are more discursive in character and were taken within two years of the initial events. Subsequent witness statements, taken in the 1650’s, were more focused on damage to property and loss of life with a view to charging those guilty of such acts in court. Though these statements were marked up in TEI, the code itself is inaccessible, due to concerns about people making use of the transcribed manuscripts without permission. This hinders the markup’s functionality, as it makes it impossible for scholars to search, process or analyse the text in ways that markup would otherwise allow.

The data schema that was used within the context of the  project website is also idiosyncratic in many respects. The tagging system which facilitates searches of the depositions uses twenty-four separate terms, among them, ‘apostasy’, ‘arson’, ‘captivity’, ‘witchcraft’ and ‘death’. There is a significant amount of overlap within this systems, the question arises as to what precise differences there are between ‘death’, ‘killing’, ‘multiple killing’ and ‘massacre’ as subjects. Further, tags such as ‘witchcraft’ disproportionately emphasise the sensational nature of some of the depositions; despite the fact that references to supernatural phenomena, feature in a relatively small number of depositions.

This is somewhat ironic considering the uses the depositions were put to at the time they were first written, as a means of fuelling anti-Catholic prejudice in England to further entrench the plantation project and justify the representation of Catholicism as ‘a proven tyrannical force’. This may have been done with a view to the potential impact of the project; Elizabeth Price’s deposition was dramatised on RTÉ presumably because it offers a vivid account of a massacre, though no attention was given in the broadcast to their unreliability as a resource. As the depositions were devised by a governing infrastructure attempting to prosecute insurrectionists and quell rebellions from non-compliant parts of the country, they could hardly be considered disinterested investigations.

There is an argument to be made that a panel of historical experts on Tudor and Stuart Ireland would be capable of devising a sequence of topics in order to provide a guiding mechanism for any prospective reader, particularly within the context of a digital scholarly edition such as this, in which there is such a huge amount of material. However, it is clear that in this case, this has not been achieved.

Bibliography

Canny, Nicholas, Making Ireland British 1580-1650 (Oxford University Press: 2003)

Foster, R.F., Modern Ireland 1600-1972 (Penguin: 1989)

Heffernan, David, The Emergence of the Public Sphere in Elizabethan Ireland (The Tudor and Stuart Ireland Conference 2012: 2012) https://soundcloud.com/history-hub/david-heffernan-the-emergence-of-the-public-sphere-in-elizabethan-ireland

Hughes, Anthony, The Stuart Post Office: Not Just for Delivering Letters (The Tudor and Stuart Ireland Conference 2012: 2012) https://soundcloud.com/history-hub/anthony-hughes-stuart-post-office-ireland Accessed: 4 May 2017.

Ohlmeyer, Jane, Bartlett, Thomas, Ó Siochrú, Micheál, Morrill, John, 1641 Depositions, Available at: http://ride.i-d-e.de/issues/issue-5/1641-depositions/ Accessed: 4 May 2017

Literary Cluster Analysis

I: Introduction

My PhD research will involve arguing that there has been a resurgence of modernist aesthetics in the novels of a number of contemporary authors. These authors are Anne Enright, Will Self, Eimear McBride and Sara Baume. All these writers have at various public events and in the course of many interviews, given very different accounts of their specific relation to modernism, and even if the definition of modernism wasn’t totally overdetermined, we could spend the rest of our lives defining the ways in which their writing engages, or does not engage, with the modernist canon. Indeed, if I have my way, this is what I will spend a substantial portion of my life doing.

It is not in the spirit of reaching a methodology of greater objectivity that I propose we analyse these texts through digital methods; having begun my education in statistical and quantitative methodologies in September of last year, I can tell you that these really afford us no *better* a view of any text then just reading them would, but fortunately I intend to do that too.

This cluster dendrogram was generated in R, and owes its existence to Matthew Jockers’ book Text Analysis with R for Students of Literature, from which I developed a substantial portion of the code that creates the output above.

What the code is attentive to, is the words that these authors use the most. When analysing literature qualitatively, we tend to have a magpie sensibility, zoning in on words which produce more effects or stand out in contrast to the literary matter which surrounds it. As such, the ways in which a writer would use the words ‘the’, ‘an’, ‘a’, or ‘this’, tends to pass us by, but they may be far more indicative of a writer’s style, or at least in the way that a computer would be attentive to; sentences that are ‘pretty’ are generally statistically insignificant.

II: Methodology

Every corpus that you can see in the above image was scanned into R, and then run through a code which counted the number of times every word was used in the text. The resulting figure is called the word’s frequency, and was then reduced down to its relative frequency, by dividing the figure by total number of words, and multiplying the result by 100. Every word with a relative frequency above a certain threshold was put into a matrix, and a function was used to cluster each matrix together based on the similarity of the figures they contained, according to a Euclidean metric I don’t fully understand.

The final matrix was 21 X 57, and compared these 21 corpora on the basis of their relative usage of the words ‘a’, ‘all’, ‘an’, ‘and’, ‘are’, ‘as’, ‘at’, ‘be’, ‘but’, ‘by’, ‘for’, ‘from’, ‘had’, ‘have’, ‘he’, ‘her’, ‘him’, ‘his’, ‘I’, ‘if’, ‘in’, ‘is’, ‘it’, ‘like’, ‘me’, ‘my’, ‘no’, ‘not’, ‘now’, ‘of’, ‘on’, ‘one’, ‘or’, ‘out’, ‘said’, ‘she’, ‘so’, ‘that’, ‘the’, ‘them’, ‘then’, ‘there’, ‘they’, ‘this’, ‘to’, ‘up’, ‘was’, ‘we’, ‘were’, ‘what’, ‘when’, ‘which’, ‘with’, ‘would’, and ‘you’.

Anyway, now we can read the dendrogram.

III: Interpretation

Speaking about the dendrogram in broad terms can be difficult for precisely the reason that I indicative above; quantitative/qualitative methodologies for text analysis are totally opposed to one another, but what is obvious is that Eimear McBride and Gertrude Stein are extreme outliers, and comparable only to each other. This is one way unsurprising, because of the brutish, repetitive styles and is in other ways very surprising, because McBride is on record as dismissing her work, for being ‘too navel-gaze-y.’

Jorge Luis Borges and Marcel Proust have branched off in their own direction, as has Sara Baume, which I’m not quite sure what to make of. Franz Kafka, Ernest Hemingway and William Faulkner have formed their own nexus. More comprehensible is the Anne Enright, Katherine Mansfield, D.H. Lawrence, Elizabeth Bowen, F. Scott FitzGerald and Virginia Woolf cluster; one could make, admittedly sweeping judgements about how this could be said to be modernism’s extreme centre, in which the radical experimentalism of its more revanchiste wing was fused rather harmoniously with nineteenth-century social realism, which produced a kind of indirect discourse, at which I think each of these authors excel.

These revanchistes are well represented in the dendrogram’s right wing, with Flann O’Brien, James Joyce, Samuel Beckett and Djuna Barnes having clustered together, though I am not quite sure what to make of Ford Madox Ford/Joseph Conrad’s showing at all, being unfamiliar with the work.

IV: Conclusion

The basic rule in interpreting dendrograms is that the closer the ‘leaves’ reach the bottom, the more similar they can be said to be. Therefore, Anne Enright and Will Self are the contemporary modernists most closely aligned to the forebears, if indeed forebears they can be said to be. It would be harder, from a quantitative perspective, to align Sara Baume with this trend in a straightforward manner, and McBride only seems to correlate with Stein because of how inalienably strange their respective prose styles are.

The primary point to take away here, if there is one, is that more investigations are required. The analysis is hardly unproblematic. For one, the corpus sizes vary enormously. Borges’ corpus is around 46 thousand words, whereas Proust reaches somewhere around 1.2 million. In one way, the results are encouraging, Borges and Barnes, two authors with only one texts in their corpus, aren’t prevented from being compared to novelists with serious word counts, but in another way, it is pretty well impossible to derive literary measurements from texts without taking their length into account. The next stage of the analysis will probably involve breaking the corpora up into units of 50 thousand words, so that the results for individual novels can be compared.

Re-reading Eimear McBride’s ‘A Girl is a Half-Formed Thing’

A book that I’m looking forward to reading, that doesn’t exist yet, is an academic account of how Irish contemporary fiction went, in such a short space of time, from social realism, to the precociously sentenced art writing with dissociative narrators that now composes the Irish literary milieu. It’s the sort of thing that was probably brewing for a long time, these trends tend to be, but I first became aware of it when Eimear McBride’s A Girl is a Half-Formed Thing was published in 2013. It caused a bit of stir in the literary press at the time, for its supposed uncompromising experimentalism, and its fraught, J.K. Rowling-esque publication history. Critics compared it to Marcel Proust or Samuel Beckett, but I don’t think there was a single review that didn’t mention James Joyce.

In the works of Sara Baume, Joanna Walsh or Claire-Louise Bennett, there are certainly comparisons to be made along these lines, but I think McBride is the novelist of the current generation who is suffering most egregiously under these comparisons. This leads to a kind of distortion that McBride has spoken about recently, saying that it’s ‘a way of not being seen’. Claire Lowdon, writing on McBride’s prose style in Areté, has used the Joyce comparisons as a way of demeaning the novel’s experimental qualities, saying that they are ‘redundant’ and ‘artificial’:

Having invoked Joyce, Joyce has to be McBride’s standard. She has taken all the difficulty and none of the brilliance.

Lowdon’s reading is important and thorough, but I have problems with it. The most significant one being that I think it’s nonsensical to say that just because a work is in some way formally indebted to Joyce has to be 1) as good, 2) as innovative and 3) as good and as innovative in exactly the same ways. I think it’s a very strange point to make that we should benchmark a writer relative to their influences , particularly when this is a comparison furthered more by the laziness of critics than something that McBride has taken upon herself. It’s also inadequate to assume McBride and Joyce’s modernisms are coterminous; I happen to think that they’re rather distinct in a number of significant ways.

Firstly, it’s clear that A Girl is more formally aligned with the Wake than with Ulysses, but taken relative to the former, A Girl manifests far less attention to the materiality of language. In A Girl, there’s less puns, there’s less references, there’s less leitmotifs. It’s also possible to make sense of A Girl without reference to other works. But it’s a mistake to regard this as McBride’s failure to live up to her twentieth century modernist aesthetics. An example from the novel’s opening that Lowdon cites reads as follows:

For you. You’ll soon. You’ll give her name. In the stitches of her skin she’ll wear your say. Mammy me? Yes you. Bounce the bed I’d say. I’d say that’s what you did. Then lay you down. They cut you round. Wait and hour and day.

‘Wait and hour and day’, carries with it the vague association with the phrase ‘a year and a day’ but it doesn’t strictly make sense in that context, there’s no clear reason for the semantic distortion. But there’s also no requirement that there is, nor that it add up to some enormous mythic framework in the same way that the Wake does. I think that once we approach the novel from this position, one which takes account of McBride’s actual concerns, we’ll be able to come to a more sophisticated understanding that doesn’t amount to downgrading her because of her perceived inadequacy in relation to Joyce.

By her own admission McBride retains an interest in nineteenth century novels with less self-consciousness about their language or processes of meaning-making. She has cited the work of the Russian novelist Fyodor Dostoevsky as significant, particularly as an example of proto-modernism, or modernism in a nascent stage of its development, wherein human intersubjectivity was beginning to make itself known within the novel while the tenets of realistic fiction was still trying to accommodate it. Being aware of the fact that The Lesser Bohemians is not the novel under discussion, it’s important to note the way in which it demonstrates this interplay. Within the context of what has been referred to by the author as a ‘modernist monologue’ there is a very sensationalistic narrative in which a character lays out their life story in a very direct and straightforward manner in the same way that you might find extended and directly rendered narratives nested within nineteenth century novels. McBride has said that this is a very deliberate formal mechanic which is pertinent to the text’s thematic concerns, as it is a novel about relating to another person in spite of one’s traumatic past:

In the end you tell a person and you have to use the words that they’ll understand.

What makes McBride’s modernism distinct then, is the centrality it gives to the conveying of narrative information, deploying it as a means of bringing the reader closer to

physical experience, to write about the female experience…the reader can partake in the experience.

McBride has said that the language of A Girl, was written in a way that would create a physical experience for the reader, an immediacy on the page that is reminiscent of theatre. She’s expressed frustration at the content of many of her reviews which have emphasised the quality of the language at the expense of the novel’s content, which she regards as very significant. This stands in contrast to the tradition of the Wake or other modernist works famed for their unintelligibility, such as Gertrude Stein’s The Making of Americans: Being a History of a Family’s Progress is a novel that she has spoken about dismissively for being ‘too navel-gaze-y.’

This stated interest in what the book is ‘about’ and a reader-centric ethic, is I think at least a partial reversal of expectations within the modernist tradition. McBride’s modernism is therefore conceptualised, not as a constructed textual estrangement from reality, but an attempt to bring it closer, to a dwelling-place of authentic being. Not that it’s likely to close off such comparisons in the future.

Re-Reading Anne Enright’s ‘The Gathering’

When it comes to reading Anne Enright’s novels, I am guilty of teleological thinking. This is because I believe her most recent novel, The Green Road, to be one of the best novels I’ve ever read and until I’d read that, I believed The Gathering to be one of the best novels I’ve ever read. So, there is an extent to which I have come to view her oeuvre as an inexorable movement towards the twin apotheoses of these two works.

What is interesting then, about the history of The Gathering’s composition, is that is seems to have begun almost as a run-up to The Green Road. It was initially Enright’s intention to make The Gathering a Faulknerian 500-some page novel that would follow three generations of the Hegarty family through a century of Irish history, from the early 1900’s to the early 2000’s. The section in the novel in which the whole family is gathered for their brother Liam’s funeral, certainly seems to emulate the set-piece of The Green Road’s Christmas dinner, albeit with substantially less information given about each family member. The Gathering apparently ‘fell apart’ in the drafting process, and became the far more fragmented work we now have, one which is at war with its own historical consciousness, an allegory of modern Irish history which acts as the novel’s framework.

Take Veronica’s account of her very Irish family, which is at once a detailed account of her own, as well as Irish families in a more general sense:

There is always a drunk. There is always someone who has been interfered with, as a child. There is always a colossal success, with several houses in various countries to which no one is ever invited. There is a mysterious sister. There are just trends, of course, and, like trends, they shift.

Take, also, Veronica’s name. The biblical Veronica wiped Jesus’ face witha piece of cloth, and took its imprint. A heavily freighted name, and one which carries with it the burden of creating truly mimetic art, an aspiration towards the re-creation of causality on the page which Veronica mostly fails to live up to. Veronica is conscious of all this, making fun of her mother in the following aside: ‘Such epic names she gave us — none of your Jimmy, Joe or Mick.’

The allegory also manifests itself in the novel’s portrait of the hundred years of Irish history from below. There is a suggestion that Veronica’s grandmother was a sex worker, part of the generation of ‘reformed’ prostitutes put into halfway houses by the church to dry out until they were deemed fit to re-join society. Veronica theorises that her grandmother was one of these, in an attempt to explain her brother’s suicide, and her family’s general fucked-up-edness, but casts doubt on her account even she advances it, dismissing it as ‘A dusty, middle-class fantasy, of crinkled stockings and TB, and hunkering to wash over a basin on the floor’.

Her narrative fails to account for Liam’s suicide. No shape that she puts on the narrative remains secure because Liam, her grandmother and her uncle, (institutionalised due to his being abused), are not victims in isolation, they are part of a far broader generation of victims over the state’s history, whether they be ‘fallen’ women put into Magdalene laundries, rape victims institutionalised on the suggestion of their rapists (who were often family members) or children molested and beaten in industrial schools. It is only after these testimonies begin to surface in public life that Veronica remembers witnessing Liam’s abuse, and places it within a national chronology:

This is what shame does. This is the anatomy and mechanism of a family — a whole fucking country — drowning in shame.

Over the next twenty years the world around us changed and I remembered Mr Nugent. But I never would have made that shift on my own if I hadn’t been listening to the radio and reading the paper and hearing about what went on in schools and churches and in people’s homes.

Of course, The Gathering is just one attempted explanation, for just one victim, and it can’t be expected to take the burden of just how many there were. This is highlighted at a stage in the novel in which Veronica visits as mass grave at a mental institution that has been recently closed:

Just one cross — quite new — at the end of a little central path. A double row of saplings promise rowan trees to come. There are no markers, no separate graves. I wonder how many people were slung into the dirt of this field, and realise, too late, that the place is boiling with corpses, the ground is knit out of their tangled bones.

Throughout the text, bones are associated with the act of narration, Veronica comforts her hand with the neat ‘arc’ of a cuttlefish bone, and feels for her children’s bones when she embraces them, enjoying their symmetry and their apparent lack of complication. The image of ‘tangled’ bones provides little hope of ever reaching closure for the innumerable victims of the Irish state’s negligence and cruelty.

To what extent The Gathering is about the history of systematic female oppression might all be Veronica’s contrivance, or Enright’s; she is not a heavy-handed novelist, and it is not just Veronica’s uncertainty that would prevent us from taking this reading up wholly, but Enright’s subtlety. (The one scene we might quibble with is one set in an asylum named St. Ita’s, a brief history of the saint’s role in embodying a feminine ideal is given also).

Perhaps any account is doomed to failure, knowing how pockmarked the historical record is by aporia and silence, enforced or otherwise, the extent of the suffering will be passed over, particularly as long as the state’s policy is to remain stingy with the provision of compensation or the bodies responsible continue to ‘deny till they die’.

I add it in to my life, as an event, and I think, well yes, that might explain some things. I add it into my brother’s life and it is crucial, it is the place where all cause meets all effect, the crux of an x. In a way, it explains too much.