Amy J. Elias – författare

Has twentieth-century political violence destroyed faith in historical knowledge? What happens to historical fiction when history is seen as either a form of Western imperialism or a form of postmodern simulation? In Sublime Desire, Amy Elias examines our changing relationship to history and how fiction since 1960 reflects that change. She contends that postmodernism is a post-traumatic imagination that is pulled between two desires: the political desire to acknowledge the physical violence of twentieth-century history, and the yearning for an escape from that history into a ravishing realm of historical certainty. Torn between these desires, both historical fiction and historiography after 1960 redefine history as the "sublime," a territory beyond lived experience that is both unknowable and seductive. In the face of a failure of Enlightenment ideals about knowledge and the West's own history of violence, post-World War II history becomes a desire for the "secular sacred" sublime-for awe, certainty, and belief. Sublime Desire is an eloquent melding of theory and practice.Mixing the canonical with the unexpected, Elias analyzes developments in the historical romance genre from Walter Scott's novels to novels written today. She correlates developments in the historical romance to similar changes in historiography and philosophy. Sublime Desire draws engagingly on more than thirty relevant texts, from Tolstoy's War and Peace to Jeanette Winterson's Sexing the Cherry, Charles Johnson's Dreamer, and Charles Frazier's Cold Mountain. But the book also examines theories of postmodern space and time and defines the difference between postmodern and postcolonial historical perspectives. The final chapter draws from trauma theory in Holocaust studies to define how fiction can pose an ethical alternative to aestheticized history while remaining open to pluralism and democratic values. In its range and sophistication, Sublime Desire is a valuable addition to postmodernist studies as well as to studies of the historical romance novel.

A groundbreaking essay collection that pursues the rise of geo-culture as an essential framework for arts criticism, The Planetary Turn shows how the planet—as a territory, a sociopolitical arena, a natural space of interaction for all earthly life, and an artistic theme—is increasingly the conceptual and political dimension in which twenty-first-century writers and artists picture themselves and their work. In an introduction that comprehensively defines the planetary model of art, culture, and cultural-aesthetic interpretation, the editors explain how the living planet is emerging as distinct from older concepts of globalization, cosmopolitan-ism, and environmentalism and is becoming a new ground for exciting work in contemporary literature, visual and media arts, and social humanities. Written by internationally recognized scholars, the twelve essays that follow illustrate the unfolding of a new vision of potential planetary community that retools earlier models based on the nation-state or political “blocs” and reimagines cultural, political, aesthetic, and ethical relationships for the post–Cold War era.

Over the course of a thirty-eight-year friendship, painter Beauford Delaney and writer James Baldwin shared their private lives and shaped one another’s artistic values. Speculative Light brings together scholars, critics, and artists who analyze the stylistic and historical import of Delaney's and Baldwin’s works and examine how this friendship fundamentally shaped the pair's ideas about art and life. The book’s contributors explore how the two men, sharing identities as queer Black American artists, first in New York and then as expatriates in France, created a speculative space in their work to think about more just and creative Black futures. Essay topics and issues range from masculinity, queerness, Blackness, and Americanness to the relationship between jazz, painting, and writing. Throughout, the contributors establish a positive history for Delaney's and Baldwin’s arts that refuses a subordinate role to white artists of the modernist avant-garde. Ultimately, Speculative Light demonstrates that Delaney and Baldwin's bond provides revolutionary grounds for theorizing contemporary Black art and life.Contributors. Hilton Als, Nicholas Boggs, Indie A. Choudhury, Shawn Anthony Christian, Rachel Cohen, Amy J. Elias, Monika Gehlawat, David Leeming, D. Quentin Miller, Fred Moten, Walton M. Muyumba, Robert O’Meally, Ed Pavlić, Levi Prombaum, Robert Reid-Pharr, Tyler T. Schmidt, Abbe Schriber, Jered Sprecher, Stephen C. Wicks, Magdalena Zaborowska