Reviewed by: Failures of Feeling: Insensibility and the Novel by Wendy Anne Lee Scott R. Mackenzie LEE, WENDY ANNE. Failures of Feeling: Insensibility and the Novel. Stanford: Stanford University Press, 2020. $55.00 hardcover; $26.00 paperback. Wendy Anne Lee's Failures of Feeling identifies and investigates a "dilemma in fiction" of which Melville's Bartleby is the "culmination": his "unfeeling combined with inaction" (1) and "unnerving oscillation between impassivity (no feeling) and contempt (bad feeling)" disrupt "the novel's promise to deliver the goods of human interiority at the same time that [his insensibility] foments that very mission" (2). Lee calls characters who embody this dilemma "insensibles" and her examples include the Princesse de Cleves, Clarissa, Oliver Goldsmith's Tony Lumpkin, Gwendolen Harleth, and King Charles I. They belong to a "genealogy of insensibles" (126) and, while an insensible is not exactly a stock character, Lee's case studies also include Clarissa's typological forebear, the prude, and the folkloric figure Puck, of whom Tony Lumpkin is an avatar. Insensibility functions narratologically as well as characterologically. It may, for instance, elucidate Jane Austen's narratorial strategy in Sense and [in] Sensibility, which Lee winningly dubs "the Elinor doctrine": "screening [the narrative's] subjects from the torments of self-awareness" (158). It upsets "protocols of fictionality" [End Page 314] (126) and induces "narrative failure" (66), but in the same motion (which presents as immobility) it is "oddly galvanizing" (46) to those who encounter it, and "the ultimate trigger" for compensatory engagement and narration. This paradox is best exemplified by a question that John Harlowe asks his niece, Clarissa: "How can you be so unmoved yourself, yet be so able to move everybody else?" (qtd. in Lee 60). Insensibility is not strictly determined by either internal or external impulses. It tends to have the formal trappings of choice or intent ("I prefer not to"), but at the same time to undermine the sense that affects or acts are produced by feelings or volition. This disarticulation of internal states from external expressions generates Lee's principle of simultaneous narrative obstruction and incitement: "writing is not a relay between feeling and action but…some third thing" (48). The insensible is a kind of Aristotelian first cause (3) for novelistic narrative in the Richardsonian tradition. Indeed the novel form, Lee concludes, "is the ultimate insensible" (171). Insensibility is a kind of literalization of Adam Smith's sympathetic paradox: "our senses will never inform us of what [a tortured person] suffers…and it is by imagination alone that we form any conception of what are his sensations" (Theory of Moral Sentiments 9 [Clarendon, 1982]). Smith's law seems pivotal to Lee's formulation of insensibility as a vexing confluence of blockages—of affect, sensation, and perception. She does not quote that passage, though it is a premise for the citations from Smith that she does incorporate, and key interlocutors, particularly Rae Greiner, have discussed it in detail. Failures of Feeling is threaded throughout with ellipsis and implication, more than critical monographs usually are, and its gestures can feel elusive. At times Lee's quicksilver stylistics verge on mixed metaphor: for instance, an F. R. Leavis aphorism "signals [George] Eliot's best effort to entomb, or at least quarantine, the novel's blighted formula of gendered insensibility, sending it back to its crib with the half-hearted hope that it might try again" (169). These proliferating figures of speech do seem congruent with the figural logics of insensibility: it appears at loci of intense overdetermination. It is "the unmoving center or 'millstone' in a field of causes and effects, agents and patients" (26). The most conspicuous example is Clarissa's fixation on the young unmarried woman's consent, one of the century's favorite symptomatic preoccupations. Lee draws on Frances Ferguson to argue that fetishized consent-under-duress is central to the construction of interiority as "a back projection of a relational structure like marriage or intercourse" (65). In a longer version of this study, Lee might also have cited Ann Radcliffe's heroines, who discover that their consent is the arena in which property relations are renegotiated, as well as Edmund Burke's Reflections of...