Abstract
This paper reads Vonnegut’s Slaughterhouse-Five and Piercy’s Woman on the Edge of Time as stories of deictic temporal crises. It critically examines the texts, exploring their representations of mental time travel (MTT), and places them into dialectic with health sciences research on autonoesis and episodic memory deficits in people with lived experience of mental health disorders, particularly psychosis or ‘schizophrenia’. The paper uses this dialectic to interrogate how atypical MTT is diagnostically and clinically rendered as pathological, and indicative of psychosis in particular. Similarly, it mines these fictional representations for the insights they might provide in attempting to understand the phenomenological reality of temporal disruptions for people with lived experience of psychosis. The paper moves on to incorporate first-person accounts from people with lived experience, and uses these to refine a Deleuzean static synthesis of time constructed around the traumatic Event and the Dedekind ‘cut’. The paper concludes with some suggestions as to how the literary texts offer possible insights into the experience of people living with ‘psychotic’ temporal disruptions, and in particular how to re-invest their deictic relations to establish functioning fixity and stability of the self in time.
Highlights
This paper reads Vonnegut’s Slaughterhouse-Five and Piercy’s Woman on the Edge of Time as stories of deictic temporal crises
He is in a constant state of stage fright, he says, because he never knows what part of his life he is going to have to act in next. (Vonnegut, 1991: 17)
Connie’s movements in time restore her deictic relations, as she finds a ‘here’ and ‘now’ that recognises rather than assaults her mutable self, and this culminates in her performing a violent act of will that potentially alters the future Mattaposett
Summary
This paper reads Vonnegut’s Slaughterhouse-Five and Piercy’s Woman on the Edge of Time as stories of deictic temporal crises. In the deictic sign, proposed, there is a mutually dependent, indivisible relationship whereby the voice which speaks stands to listeners in a particular context (a ‘here’, be it textual or material) for a shared, collective temporal moment (a ‘now’).
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