The Rusting Machine in the Garden: Posthumanist Perception of Place in the Novels of Jesmyn Ward

Abstract

ABSTRACT: In The Machine in the Garden (1964), Leo Marx set American studies on a search for "a distinctively American theory of society" (4). Demonstrating how an image of mechanistic modernity first occurred then recurred throughout cultural depictions of a predominantly rural landscape, Marx examines the impact of industrialization on American society. This essay argues that contemporary southern fiction is displaying a similarly recurring motif of its own, a motif representative of a new perception of place for the region. Place, according to the southern studies conception as a region of constancy capable of informing our identities, no longer exists. The posthumanist subject instead inhabits a shared space suitable for their symbiotic coexistence, and contemporary authors are starting to depict this element of posthuman existence. Marx's machines recur anew, their rusting carcasses re-purposed by the coexisting elements around them. Rather than a shocking intrusion into the rural landscape, the rusting shells of the symbols of modern society are representative of the non-exceptionalism of the posthuman. Using Jesmyn Ward's Where the Line Bleeds, Salvage the Bones , and Sing, Unburied, Sing , this essay will consider how such imagery indicates a shift in the presentation of place in southern fiction.