campbell-snap-2015.pdf (1.66 MB)
‘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
‘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
TextIssue
30Season
Special issue : Website series, Creative Writing as Research IVPagination
1 - 5Publisher
Australian Association of Writing ProgramsLocation
Gold Coast, Qld.Place of publication
Melbourne; BrisbaneStart date
2014-03-19End date
2015-03-14Material type
fictionResource type
journal articleISSN
1327-9556Language
engNotes
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 workCopyright notice
2015, Australasian Association of Writing Programs (AAWP)Extent
TEXT Special Issue 30: Creative Writing as Research IVUsage metrics
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