Flocking together : collective animal minds in contemporary fiction

The remarkable coordination displayed by animal groups such as an ant colony or a flock of birds in flight is not just a behavioral feat; it reflects a full-fledged form of collective cognition. Building on work in philosophy, cognitive approaches to literature, and animal studies, I explore how contemporary fiction captures animal collectivity. I focus on three novels that probe different aspects of animal assemblages: animals as a collective agent (in Richard Powers's The Echo Maker), animals that communicate a shared mind through dance-like movements (in Lydia Davis's The Cows), and animals that embrace a collective "we" to critique the individualism of contemporary society (in Peter Verhelst's The Man I Became). When individuality drops out of the picture of human-animal encounters in fiction, empathy becomes abstract: a matter of quasi-geometric patterns that are experienced by readers through an embodied mechanism of kinesthetic resonance

Form, science, and narrative in the anthropocene

A significant strand of contemporary fiction engages with scientific models that highlight a constitutive interdependency between humanity and material realities such as the climate or the geological history of our planet. This article looks at the ways in which narrative may capture this human-nonhuman interrelation, which occupies the foreground of debates on the so-called Anthropocene. I argue that the formal dimension of scientific knowledge-as manifested by diagrams or metaphors used by scientists-is central to this narrative remediation. I explore two analogical strategies through which narrative may pursue a formal dialogue with science: clusters of metaphorical language and the global structuring of the plot. Rivka Galchen's novel Atmospheric Disturbances (2008), for instance, builds on a visual representation of meteorological patterns in a storm (lifted from an actual scientific paper) to stage the narrator's mental illness. Two other contemporary works (Orfeo by Richard Powers and A Tale for the Time Being by Ruth Ozeki) integrate scientific models through the overall design of the plot. By offering close readings of these novels, I seek to expand work in the area of New Formalism and show how formal choices are crucial to bringing together the human-scale world and more-than-human phenomena

Metaphorical patterns in Anthropocene fiction

This article explores metaphorical language in the strand of contemporary fiction that Trexler discusses under the heading of ‘Anthropocene fiction’ – namely, novels that probe the convergence of human experience and geological or climatological processes in times of climate change. Why focus on metaphor? Because, as cognitive linguists working in the wake of Lakoff and Johnson have shown, metaphor plays a key role in closing the gap between everyday, embodied experience and more intangible or abstract realities – including, we suggest, the more-than-human temporal and spatial scales that come to the fore with the Anthropocene. In literary narrative, metaphorical language is typically organized in coherent clusters that amplify the effects of individual metaphors. Based on this assumption, we discuss the results of a systematic coding of metaphorical language in three Anthropocene novels by Margaret Atwood, Jeanette Winterson, and Ian McEwan. We show that the emergent metaphorical patterns enrich and complicate the novels’ staging of the Anthropocene, and that they can destabilize the strict separation between human experience and nonhuman realities

Embodied Cognition and the Grotesque in Calvino\u27s La giornata d\u27uno scrutatore and Sanguineti\u27s Capriccio italiano

In his article Embodied Cognition and the Grotesque in Calvino\u27s La giornata d\u27uno scrutatore and Sanguineti\u27s Capriccio italiano Marco Caracciolo analyzes the multiple dimensions of embodied experience and how they can be brought to bear on literary texts. Drawing on scholarship in cognitive science, he argues that the embodiment of people\u27s engagement with the world emerges from the interaction between the physical structure of the body and socio-cultural practices. Caracciolo shows how such nexus of biological make-up and culture can give rise to particularly complex meanings in the representation of grotesque bodies. In order to illustrate his postulates, Caracciolo analyzes Italo Calvino\u27s La giornata d\u27uno scrutatore (The Watcher) and Edoardo Sanguineti\u27s Capriccio italiano, wherein distorted bodies play an important role

Animal mayhem games and nonhuman-oriented thinking

A host of recent videogames revolve around animals that wreak havoc on human communities and the urban spaces they live in. After introducing this strand of “animal mayhem games,” my paper links it to recent arguments on human-nonhuman entanglement in times of ecological crisis. Games like Goat Simulator, Deeeer Simulator and Tokyo Jungle ask players to engage with an animal avatar while simultaneously unsettling dichotomies between human societies and nonhuman phenomena. The destabilization of anthropocentric assumptions, I argue, is the deeper significance of animal mayhem. The subversive fun generated by these games speaks to core ideas of nonhuman-oriented thinking, particularly Timothy Morton’s concept of “strange stranger.” My close readings of Goat Simulator and Untitled Goose Game focus on the intersection of nonhuman agency and generic templates drawn from open world and puzzle games, respectively

Strange Narrators in Contemporary Fiction

A storyteller’s craft can often be judged by how convincingly the narrative captures the identity and personality of its characters. In this book, the characters who take center stage are “strange” first-person narrators: they are fascinating because of how they are at odds with what the reader would wish or expect to hear—while remaining reassuringly familiar in voice, interactions, and conversations. Combining literary analysis with research in cognitive and social psychology, Marco Caracciolo focuses on readers’ encounters with the “strange” narrators of ten contemporary novels, including Bret Easton Ellis’s American Psycho, Haruki Murakami’s Hard-Boiled Wonderland and the End of the World, and Mark Haddon’s The Curious Incident of the Dog in the Night-Time. Caracciolo explores readers’ responses to narrators who suffer from neurocognitive or developmental disorders, who are mentally disturbed due to multiple personality disorder or psychopathy, whose consciousness is split between two parallel dimensions or is disembodied, who are animals, or who lose their sanity.A foray into current work on reception, reader-response, cognitive literary study, and narratology, Strange Narrators in Contemporary Fiction illustrates why any encounter with a fictional text is a complex negotiation of interlaced feelings, thoughts, experiences, and interpretations