Fredric Jameson

We have been approaching the figure of Jacob in a spirit of reverence, with hushed voices, as in church, as though he had a religious task or mission. What we have failed to understand is that the Messiah is come, not to fulfil the Law but to destroy it! Not to perfect it but rather to abolish it altogether. We have been trying to imagine the wrong kind of world: this is not the utopian world of Thomas More (or even that of Moliwda); it is the world of Sabbatai Sevi’s blasphemies and orgies, his vilification and repudiation of the Talmud, his public consumption of pork, his disregard – indeed, cancellation – of the most sacred Jewish holidays, his pronunciation out loud of the sacred name of God on all occasions. This​ is the very quintessence of transgression, the promotion of a Bataille-type mysticism to the very centre of social life, the injunction to destroy order itself, absolutely.

Recently​ a happy accident put me in possession of a rarely seen film by Andrzej Wajda, Smuga cienia, from 1976. It is an adaptation of Joseph Conrad’s short, openly autobiographical novel The Shadow-Line (1916). Wajda conceived the film as a modest docudrama based on Conrad’s last mission at sea. The British government, in the thick of the First World War, had enlisted the...

I will call Knausgaard’s kind of writing ‘itemisation’. We have, in postmodernity, given up on the attempt to ‘estrange’ our daily life and see it in new, poetic or nightmarish, ways; we have given up the analysis of it in terms of the commodity form, in a situation in which everything by now is a commodity; we have abandoned the quest for new languages to describe the stream of the self-same or new psychologies to diagnose its distressingly unoriginal reactions and psychic events. All that is left is to itemise them, to list the items that come by.

Everything changes in Macondo, the state arrives, and then religion, and finally capitalism itself; the civil war pursues its course like a serpent biting its own tail; the town grows old and desolate, the rain of history begins and ends, the original protagonists begin to die off; and yet the narrative itself, in its rhizomatic strings, never grows extinct, its force remaining equal to itself until the fateful turn of its final pages.

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.