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Snap

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journal contribution
posted on 2015-10-01, 00:00 authored by Marion CampbellMarion Campbell
‘Snap’ deploys the queer cliché of becoming-sailor as a trope for recognition in the amorous encounter and literalises the ‘copycat’ as its catalyst. As Girard argues (1973), the human is foremost mimetic: this story makes its claim for originality and authenticity of connection through the playful recycling of cliché.
‘Snap’ eschews the relative affectlessness of some metafiction by staging an amorous approach under the shadow of mortality. It exploits the liminal moment of modernist short fiction to summon the ‘manifold’ of experience. Here, love opens a space of intertextual esonance (Costello 2007), including motifs of Genet (masquerade), Duras (haunting) and Maurice Blanchot (the infinite approach), by writing the threshold of encounter as the intensive silence of wond

History

Journal

Text

Issue

30

Season

Special issue : Website series, Creative Writing as Research IV

Pagination

1 - 5

Publisher

Australian Association of Writing Programs

Location

Gold Coast, Qld.

Place of publication

Melbourne; Brisbane

Start date

2014-03-19

End date

2015-03-14

Material type

fiction

Resource type

journal article

ISSN

1327-9556

Language

eng

Notes

Research background Butler (1990) theorises that some writers explore sexuality as reiteration and performance. But how to write the erotic encounter between reciprocal readers whose bodies are caught in the lag of longing at the onset of death? Can dream and masquerade be enlisted to the task? The second-person address can be manipulative, associated as it is with the didactic. While it is kept in reflexive play in some high-modernist metafiction (Calvino 1979), and Wittig (1973) deploys the metamorphic potential of the lesbian I-you, how might the second person enable intimacy and reflexivity at once?

Publication classification

J2 Minor original creative work

Copyright notice

2015, Australasian Association of Writing Programs (AAWP)

Extent

TEXT Special Issue 30: Creative Writing as Research IV

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