Reviewed by: The Moral Worlds of Contemporary Realism by Mary K. Holland Marshall Boswell Mary K. Holland. The Moral Worlds of Contemporary Realism. Bloomsbury, 2020. viii + 288 pp. Is realism a periodic term or an honorific denoting a novel's success at rendering the real? Does the term refer to a set of formal novelistic conventions, neither more nor less valued than the conventions of surrealism or metafiction, or does it denote a text's ethical adherence to truth and accuracy? And at a time when quantum physics and the impenetrable barriers of postmodern simulacra reduce our grasp of everyday reality to something close to guesswork, does the term even have any value in the context of contemporary fiction? In her remarkable new book, The Moral Worlds of Contemporary Realism, Mary K. Holland cuts through these questions to propose a new and capacious definition of contemporary realism grounded in the clarifying dictum that "changes in how we view the world necessitate changes in how we represent the world" (153). Organizing her study under the umbrella term "poststructural realism" (257), Holland guides her readers through a series of contemporary texts by writers as diverse as David Foster Wallace, Steve Tomasula, Ted Chiang, Ruth Ozeki, and Don DeLillo, demonstrating the startling ways many ostensibly antirealist fictions actually seek to depict our increasingly unstable and elusive interactions with phenomenal reality. From its inception, realism, as envisioned by William Dean Howells and Henry James, always denoted an ethical agenda. Howells's own vague description of realism as "the sincere and conscientious endeavor to picture life" (qtd. in Holland 4) somewhat conceals the underlying telos of realistic narratives—namely, to bring their protagonists to accurately see the underlying texture of the reality they're inhabiting. When James's Isabel Archer encounters Madame Merle and Gilbert Osmond in silent contemplation beside the fireplace, she begins to see the machinations that have been going on behind her back all along. As James makes the case elsewhere, the goal is to be one on whom nothing is lost. James Joyce's secular epiphanies grow out of this realist agenda of proper and even transcendent seeing, a point grasped keenly by Erik Auerbach, whose 1946 Mimesis updates realism for the modernist novel via the argument, paraphrased by Holland, that "the external, objective world exists, for the individual and for fiction, in order to provoke the mind's experience of these truths" (11). Not surprisingly, Holland positions her poststructural realism as a continuation of Auerbach's modernist updating. She adds to her genealogy Frederic Jameson's Marxist-poststructural critique, [End Page 378] which she explains as a claim that all forms of realism are ultimately failed "aesthetic modes for delivering ideological content" (28). After listing twenty contemporary realisms coined between 1983 (the "dirty realism" [31] of Raymond Carver and company) and 2014 (Holland's own "metafictive realism" [32]), she narrows her focus to three primary branches of poststructural realism. These branches are metafictive realism, which "uses self-reflective devices to allow language to invoke and connect the reader to the real world" (40); material realism, which "uses language and physical form to draw attention to the physical reality of the book and language's impact on the physical world"; and quantum realism, which invites us "to "consider the quantum reality we live in and its effects on our experience and on literary form." About Wallace, Holland demonstrates that his use of metafictional self-reflexivity seeks not to sever his fiction from the real world but rather to mimic our own self-conscious encounter with postmodern reality, an approach that feels all the more pertinent and urgent after a year of engaging with the world through the self-reflective Zoom. Similarly, she argues that a book such as J. J. Abrams and Doug Dorst's S. (2013), which includes a novel, a set of notes from two readers, and a scattering of supplementary material including a decoder, "uses the print book to materialize various acts of reading and writing" (135). But Holland's most innovative and startling intervention is her lengthy exploration of quantum realism, which occupies her book's second half. Building on Samuel Coale's Quirks of the Quantum...
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