MLR, 102.1, 2007 217 on to suggest that inhis literary maturity Dreiser was both aRomantic and aRealist, having had his beginnings in the age of Emerson and itsnineteenth-century essen tialist claims for an ordered universe, instead of the accidental, relativistic universe ofmany twentieth-century intellectuals. Dreiser spent only a year at what is now Indiana University before he moved toChicago in I887 to begin a series ofmanual jobs, including labourer, factoryworker, and driver. Loving argues here thatDreiser was the firstgreat American novelist to come from thewrong part of town. Itwas his first-hand familiaritywith the aspirations and the restraintsplaced upon ordinary Americans thatsuggested tohim the implacable determinism thatunderlay all human effort,and gave hiswriting itsunsophisticated yet extraordinary power. Loving uses his detailed account ofDreiser's writing fornewspapers to show his burgeoning social consciousness as his work took him across America, probing into the seedier side of American life in cities such as St Louis, New York City, and Pittsburgh. When Dreiser moved from newspapers tomagazine writing and edit ing,Loving trackshis restlessmove from one journal to another to demonstrate his subject's determination to chronicle American life inmore 'realistic' detail than had previously been done. Sister Carrie was the result, and Loving's account of thewrit ing, editing, and reception of the novel offers a fascinating subtext on the conflict between venality and morality within theAmerican publishing industry of the time. Loving is never less than interesting on all aspects ofDreiser's lifeand work: his 'conversion' toCommunism, his interest in the embryonic Civil Rights movement, his protracted disputes with academia, and, particularly, his vexatious relationships with publishers. Loving notes thatwhile the initial reception of Sister Carrie left Dreiser penniless and suicidal, itwas the enthusiastic support of such important contemporaries as Frank Norris, W. D. Howells, and, above all,H. L. Mencken that eventually made Sister Carrie and its author famous. Loving argues thatDreiser's first wife, 'Jug',played a crucial role in editing themanuscript of Sister Carrie, and thatDreiser repaid her by being an inveteratewomanizer throughout his life.Over all, while Loving isnever censorious, he has notwritten a hagiography; he portrays Dreiser as not without faults, but nevertheless as a man who against all the odds produced an extraordinary body ofwork. ROEHAMPTONUNIVERSITY KEVIN MCCARRON 7ames Joyce and theDifference ofLanguage. Ed. by LAURENTMILESI. Cambridge, New York, and Melbourne: Cambridge University Press. 2003. Xiii+232 pp. ?40; $6o. ISBN 978-o-52i-62337-7. This collection of twelve essays centres on the idea that language isof paramount sig nificance in Joyce'swork-of greater importance than, say, character, social context, political direction, or sexual morality-and that Joyce's location and expression in language is thekey tohiswriting practice. All theconventional weights ofnineteenth century realist fiction (such as those just listed) become focused and transmogrified by Joyce'smeticulous attention to the language of his work. The essays themselves take differentpoints of departure to explore various aspects of this premiss, first in theEnglish ofDubliners, A Portrait, and Ulysses, then in the polyglot idiom ofmultiple languages and slippery puns of Finnegans Wake. Joyce 'poeticizes' and 'foreignizes' English, according toLaurent Milesi. Fritz Senn's essay 'SyntacticGlides' focuses on theanti-naturalist artificeof Joyce'swriting in refresh ingly close detail. Quoting fromUlysses, 'the sailor [. . .] the noise of his bilgewater [. . .] splashing on the ground', Senn points out that 'noises don't splash' (p. 33) and thereby opens up thewhole area of uncertainty between language and actuality 2I8 Reviews with which Joyce's writing engages. Benoit Tadie discusses Joyce's work in rela tion to contemporary linguistic theories, such as those of Saussure, Pound/Fenellosa, Malinowski, and Sapir, nicely concluding that Molly's night-time unravelling of the 'rational representations conceived in the daylight' (p. 56) link her toPenelope and 'the truth' is on her side. Beryl Schlossman discusses the role of the 'Madonnas of Modernism', connecting Joycewith Flaubert, Baudelaire, and Yeats while suggesting the essential connectedness ofmagic and desire, love,writing, and art. Marie-Dominique Garnier offers 'Joycewith Deleuze' in a pun-loaded essay on 'The Lapse and the Lap', where licking, lapping, milk, cats, and Lacan are recur ring tropes in amazy journey concluding with 'theOther' that 'duplicates the self' (p. I09). Thomas Docherty talks about...
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