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Ontario: Mosaic Press, Bibhutibhushan Galpasamagra. Calcutta: Mitra and Ghosh, Bhattacharya, Tithi. Blanco, Maria del Pilar and Pereen, Esther, eds.
The Spectralities Reader. London: Bloomsbury: London, Bose, Buddahdeva. An Acre of Green Grass. Calcutta: Orient Longmans, Butler, Judith. Giving an Account of Oneself. New York: Fordham University Press, Chaudhuri, Amit, ed. London: Picador, Damrosch, David, ed. Teaching World Literature. New York: MLA, Dove, Patrick. Dunn, T. Grammatology and Literary Modernity in Turkey. Oxford: Oxford University Press, Fares, Gustavo C.
Fokkema, Douwe. Roland Robertson and Jan Aart Scholte. New York: Routledge, Frenk, Susan F. Fuentes, Carlos. Lysander Kemp. New York: Farrar, Strauss and Giroux, Gyurko, L. Hodapp, James. Pollack Sheldon. Berkeley: University of California Press, Juan Rulfo: Realidad y mito de la Revolucion Mexicana. Madrid: Pliegos, Lefebvre, Henri. The Production of Space.
Oxford: Blackwell, Mena, Sergio Lopez. Moran, Berna. Puchner, Martin, ed. New York: W. Norton and co. Riso, Elisa. Rulfo, Juan.
Grove Press: New York, Madrid: Ediciones Catedra, Safa, Peyami. Samanta, Suchitra, ed. New Delhi: Katha, Sen, Sukumar. History of Bengali Literature. Delhi: Sahitya Akademi, Stoler, Ann Laura, ed. Imperial Debris: On Ruins and Ruination. Durham: Duke University Press, Caren Irr and Ian Buchanan. Albany: SUNY, He sensed some- thing and tried to break away from it. His memory blocked. There was a self which came out of him and hung on him, grasping and being one with everything.
It was one with an absolute [Bu bir mutlak birdi]. Unlike several of his less fortunate Mexican and Bengali counterparts, Ferit recovers his identity—but it is a changed one.
The next day, when he gets on a ferry, the ghost of the dead Noralia has so changed him that he thinks the boat is going to Rome— not Istanbul—and that at any moment he is going to see Noralia and her son on the boat This expansive transformation of Ferit has been read as a conservative ges- ture, basically an incorporation of Christian Otherness into a larger, nationalistic vision, and there are good reasons for reading the text this way. If we look at the small grid below: Successfully controls Ghost Gender Possible symbol protagonist?
Historical identity and sexual identity are interwoven— and yet the degree to which their threat to an invariably patriarchal imperial order is allowed to emerge, and even succeed, is variable. Some writers, such as Tagore and Rulfo, textually interrupt the threat and bring it under control before it is al- lowed to get out of hand; others, such as Safa and Fuentes, try to incorporate the anxiety and manage it, staging the spectacle as a way of controlling it.
The irony of a conservative text which employs the female possession of a male body as a device to propagate its national- istic vision should not be overlooked. Our next Turkish novel—and our final example—highlights the re- lationship of the ghost story to the Messianic, and also suggests an underlying un- ease with property which might culminate in the alienation the separation of body from spirit of the protagonist. In many ways a living ghost from the Ottoman past, he abides in a ruined old medrese next to an equally ruined mosque: The paving stones in the courtyard had been either broken or dislodged by an enormous plane tree surging out in all directions.
Most of the rooms on the three wings. As for the little mosque on the left side of the courtyard, all that remained were four front steps leading up to the minaret. Like Lutfullah, Hayri also becomes estranged from society near the end of the book.
Then everything would fall into place. Aselban would agree to appear in human form, her lover would be reunited with his true face, and at last they would be joined in eternal bliss. Tanpinar 47, Turkish original 48 It is probably out of place to wonder whether the Messianic is not, in itself, a kind of ghost story—not a return of the dead to haunt the living, but rather the return of the resurrected living to haunt the spiritually dead.
Both structures share this sense of a disrupted temporality, of a rupture which is somehow a consequence of the return of something else. So many of our texts deal with some kind of political project that it is tempting to see figures such as Seyit Lutfullah as spectral echoes of projects somehow wrong or incomplete. To find certain recur- The Ghost Story ring mechanisms within these texts is not to impose a cultural homogeneity upon them, anymore than locating a certain pattern or thread in six different carpets means they are all essentially the same carpet.
The whole thing was like some miraculous gift from heaven that God had sent down into my hands! And I never had such a golden opportunity to earn my living without a stitch of work. I was lord [maliki] over this big house. A man who, through the appropriation of capital, literally becomes a ghost to himself.
The young, penniless historian in Aura greedily anticipates the four thousand pesos he will get out of the aunt—and ends up becoming master of the house al- though not in any way he had imagined. In fact, the Mexican stories illustrate particularly well this relationship between social mobility and the ghost story.
The vestibule disappointed me. Upon the romantic words of the invitation at least, they seemed romantic to me , I had founded hopes of an encounter with an ancient house, full of tapestries, old portraits and huge armchairs; an an- cient house, lacking in style, but full of respectability. But instead of this, I was confronted with a diminutive vestibule and with a flimsy, unelegant staircase; which foretold the cramped, modern dimensions I could expect in the rest of the house. The flooring was of polished wood; the few bits of furniture had the the comparatist 41 : chill luxury of things from New York, and on the wall, covered in bright green paper, there grimaced, with unpardonable indications of impertinence, two or three Japanese masks.
It is this tension between classes—and the attempt of one individual to shift across the lines of society into another— that produces the eerie effect of disembodied alienation. Nor is it the equally familiar idea of the spectral as exhibiting some form of anxiety within capital— most famously expressed in , of course, by Marx himself in the opening words of the Communist Manifesto, where communism is openly declared to be a spectre for capitalism, walking in its midst, reminding it of manifold injustices and looming retribution.
In our ghost stories, capital alienates—or threatens to alienate—all those who try to acquire it the irony that this may be a spiritual as well as a Marxist point I shall pass over for now. See also Fares Others argue that the novel transcends the actual historical event of the Revolution Valdes Works Cited Adorno, Theodor.
Verso: London, Almond, Ian. Alptekin, Turan. London: Verso, The Ghost Story Arce, B. Badiou, Alain. Logics of Worlds. New York: Continuum, Bakhtin, M. The Dialogic Imagination. Emerson and M. Austin: University of Texas Press, The Bengali Book of English Verse. Longmans, Green and Co. Bandyhopadhyay, Bibhutibhushan. A Strange Attachment and Other Stories. Phyllis Granoff. Ontario: Mosaic Press, Bibhutibhushan Galpasamagra.
Calcutta: Mitra and Ghosh, Bhattacharya, Tithi. Blanco, Maria del Pilar and Pereen, Esther, eds. The Spectralities Reader.