Iconographies of ‘Childness’ and the Contemporary British Novel: Book Covers, Discourses, and Cultural Models

A sizeable segment of the contemporary British fiction market for adult readers consists of novels that focus on children and childhood. In accordance with interdisciplinary Childhood Studies, such texts can be understood as contributions to the social construction of children and childhood, or ‘childness’. Such constructions appear to be in particular demand in this phase of late modernity, when childhood is conceptualized as an antidote to the many uncertainties contemporary post-industrial societies are faced with. While on the level of societies, public constructions of childhood are best understood in terms of a Foucauldian notion of discourse, discourses are not what individual readers and book-buyers actually have in their minds when choosing a title. Rather, this article argues that the cover illustrations of these novels both activate and reinforce cultural models of ‘childness’ that readers have stored as schemata shared with their cultural community. On the basis of this alignment of discourse theory with a concept from cognitive anthropology, the article demonstrates that book covers play a role in maintaining particular conceptions of ‘childness’, and in feeding them back into the minds of the readers. Furthermore, the relevance of the book as a material artefact is once again acknowledged.1

Queer Masculinities: Gender Roles, the Abject and Bottomhood in Ocean Vuong’s On Earth We’re Briefly Gorgeous

This article analyzes queerness in Ocean Vuong’s On Earth We’re Briefly Gorgeous (2019), teasing out how the queer relationship at the core of the novel is framed. Ocean Vuong’s novel mobilizes queerness to straddle boundaries between cultures, gender roles and bodies. On Earth We’re Briefly Gorgeous places the queer sexual orientations and gender performances of its protagonists, one Vietnamese American, one white American, in firm relation to the formative force of cultural contexts. Zooming in on two young boys’ queerness, the novel diversifies gender roles and makes room especially for non-normative masculinities. What is more, On Earth We’re Briefly Gorgeous mobilizes the abject to showcase how queer sexual intimacy straddles boundaries between bodies and subjects. The article attends to language politics in connection with the novel’s coming-out performance, striated constructions of gender roles and their interplay with the abject and “bottomhood” (Nguyen 2014: 2) to come to grips with the novel’s diversification of queer masculinities.

Mind, Body, and Race in Jessie Redmon Fauset’s Plum Bun

Working at the intersection of cognitive and critical race narratology, the essay examines the relationship between the embodied mind and the social construction of race in Jessie Redmon Fauset’s Plum Bun: A Novel Without a Moral (1928/2011). The essay argues that Fauset’s African American passing novel rejects the notion of a solely ‘inward turn’, which is commonly associated with modernist literature, in favor of a more dynamic understanding of embodied cognition that acknowledges the shaping force of race and racialization. Using a seemingly traditional omniscient narrator, Fauset not only draws attention to the failure of U. S. American racial hierarchies, but she also lays bare how race impacts both individual consciousness and social cognition.1

“You must kneel, compañero”: The Making of Graham Greene’s Monsignor Quixote

In the 1970 s and 1980s Graham Greene took up the habit of travelling around Spain to holiday in the company of his Spanish friend, the priest and professor Leopoldo Durán. The most outstanding fruit of these trips, almost always in summer, was the inspiration for Monsignor Quixote (1982), which Greene came to regard as his most accomplished novel (Cloetta 2004: 77). Centred around an idealistic, innocent, and somewhat foolish priest who establishes an intimate friendship with a communist ex-mayor, with whom he travels around Spain and talks about the divine and the human, the novel was initially conceived as a kind of friendly caricature of Father Durán, but it soon served as a vehicle to express various concerns that haunted the writer’s mind. The opening of the “Durán papers” collection at Georgetown University enables scholars to delve into unpublished material kept by Durán over the years, which may cast insights into the genesis of Monsignor Quixote from both textual and biographical perspectives. Taking as a major source Durán’s diaries, 16 notebooks recording his meetings and telephone conversations with Greene from 1976 to 1991, this paper aims to clarify some of the relevant background to the book’s inception, complementing the diaries with other accounts such as Greene’s letters to Durán and other friends, Durán’s letters to Greene, and testimonies by witnesses present at the events described.1