Talk Fiction: Literature and the Talk Explosion (Frontiers by Irene Kacandes

By Irene Kacandes

Everywhere you switch at the present time, anyone (or anything) is chatting with you—the tv, the radio, cellphones, your laptop. when you imagine many of the novels and tales you learn are speaking to you too, you are not on my own, and you are not flawed. during this cutting edge, multidisciplinary paintings, Irene Kacandes reads modern fiction as a sort of dialog and as a part of the bigger dialog that's smooth culture.
 
Within a framework of speak as interplay, Kacandes considers texts that may be categorised as "statements," that's, texts that completely or partially ask for his or her readers to react— to speak back—to them in definite methods. The works she addresses—from writers as various as Harriet O. Wilson, Margaret Atwood, William Faulkner, Virginia Woolf, Graham rapid, Günter Grass, John Barth, Julio Cortázar, and Italo Calvino—conduct their interactions in definite modes to complete differing types of cultural paintings: storytelling, testimony, apostrophe, and interactivity. via targeting texts inside of those groupings, Kacandes is ready to relate the various modes of speak fiction to extraliterary cultural advancements in our oral age—and to teach how such interactions, in spite of the fact that opposite to the dominant twentieth-century view of literature as paintings for art's sake, aid to maintain literature alive and chatting with us.

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Additional info for Talk Fiction: Literature and the Talk Explosion (Frontiers of Narrative)

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A more elegant definition of talk in the idiom of conversation analysis characteristically emphasizes interaction and reciprocity: ‘‘Talk is designed to reflect back on prior turns and project ahead to future ones, and we interpret talk as if it is tied in some way to prior and future turns’’ (Nofsinger 1991: 3). ’’ Specifically, conversation analysts define ‘‘ordinary,’’ ‘‘natural,’’ or ‘‘spontaneous’’ conversation as ‘‘instances of speech exchange organization with variable turn order, turn 3 Secondary Orality size, and turn content peculiar to a given occasion and the participants involved’’ (West and Zimmerman 1982: 515).

Early radio history also provides support for Ong’s claim of selfconsciousness about this new kind of interaction. In contemporary commentator McMeans’s view (1923), radio listeners thought of themselves as an audience ‘‘totally di√erent in several ways from anything before known’’ (as quoted in Douglas 1987: 312). One appreciative listener praised the fact that he could be part of a crowd and yet remain at 12 Secondary Orality home: ‘‘This vast company of listeners . . do not sit packed closely, row on row, in stu√y discomfort endured for the delight of the music.

Of absent addressees’’ (321), an oxymoronic phrase worth pausing over. What makes the talk of broadcast di√erent from ordinary conversation is the physical absence of its addressees. Go√man explains: ‘‘Because talk is learned, developed, and ordinarily practiced in connection with the visual and audible response of immediately present recipients, a radio announcer must inevitably talk as if responsive others were before his eyes and ears’’ (241). To bring this into dialogue with Go√man’s conception of talk reviewed above, the talk of the radio host must display orientation to exchange with absent addressees.

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