Abstract
ABSTRACT This article examines the role of temporality in Paul Murray’s The Mark and the Void. By exploring issues of time and financialisation throughout, Murray diagnoses the parameters of a new Irish subjectivity, delineates new forms of temporality and routines of the corporeal, and critiques Ireland’s role in upholding global inequalities. But as well as providing a robust critique, the novel offers a salve to the problems of temporality in post-Tiger, globalised Ireland. By suggesting competing forms of time, especially slowed-down time, Murray engages with aesthetic tactics that can aid in, if not dismantling, then at the very least calling into question the power of an accelerated, chrono-manic temporality linked with global financial structures. With its ethical commitment to probing the accepted parameters of financialised time, The Mark and the Void displays a diversity of approaches to time that, I argue, foreground a commitment to literature’s role in social change.
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