Lorrie Moore collection, 'A Little Ethnic Kink Is Always Good to See”: Jewish performance anxiety and anti-passing in the fiction of Lorrie Moore

This essay explores the ways in which the performance of Jewish identity (in the sense both of representing Jewish characters and of writing about those characters’ conscious and unconscious renditions of their Jewishness) is a particular concern (in both senses of the word) for Lorrie Moore. Tracing Moore's representations of Jewishness over the course of her career, from the early story “The Jewish Hunter” through to her most recent novel, A Gate at the Stairs, I argue that it is characterized by (borrowing a phrase from Moore herself) “performance anxiety,” an anxiety that manifests itself in awkward comedy and that can be read both in biographical terms and as an oblique commentary on, or reworking of, the passing narrative, which I call “anti-passing.” Just as passing narratives complicate conventional ethno-racial definitions so Moore's anti-passing narratives, by representing Jews who represent themselves as other to themselves, as well as to WASP America, destabilize the category of Jewishness and, by implication, deconstruct the very notion of ethnic categorization.

Unusual censor readings: G.D.R. science fiction and the Ministry of Culture

Covers the censorship by the Hauptverwaltung Verlage und Buchhandel in the Ministry of Culture of science fiction works in East Germany. These ranged from propaganda pieces supporting the scientific-technological revolution and the progress of socialism, to veiled criticisms of the system. The chapter argues that publishers became dependent on the high sales generated by popular culture, creating a relatively safe space for this genre.

Selective listening in L2 learners of French

This paper considers the issue raised by Brown (2008) regarding whether nouns are ‘privileged’ in memory over verbs during listening tasks, and whether attention to nouns, at least in the early stages of L2 learning, is a desirable strategy to be taught to learners, as Brown suggests it might be. The question of verb/noun recognition was explored in the present study using data from 30 lower-intermediate learners of French in England. Learners completed a listening task on two occasions, six months apart, producing recall protocols for short oral passages in French. We also explored learners’ attentional strategy use by asking them to report on this in writing immediately after the recall task. An analysis of verbs and nouns recognised indicated that verb recognition was lower than that of nouns, and that progress in verb recognition over six months was negligible. A qualitative analysis of learners’ strategy use indicated that learners with a more balanced verb/noun recognition profile took a broader focus, tending to focus their attention consciously at phrase/sentence level rather than at word level. These findings are discussed in terms of the development of listening skills over time, and the implications of this for L2 listening pedagogy.

Provenance of the oil in par-fried french fries after finish frying

Frozen par-fried French fries are finish-fried either by using the same type of oil used for par frying, or a different type. The nutritive quality of the final oil contained in the product depends on the relative amounts and the fatty acid (FA) composition of the oils used for par frying and finish frying. With the aim of understanding the provenance of the oil in the final product, par-fried French fries—either purchased ready or prepared in the laboratory—were finish fried in oils different from the ones used for par frying. The moisture content, oil content, and FA compositions of the par-fried and finish-fried products were experimentally determined, and the relative amounts of each of the oils present in the final product were calculated using the FAs as markers and undertaking a mass balance on each component FA. The results demonstrate that 89% to 93% of the total oil in the final product originates from the finish-frying step. The study also shows that a significant proportion of the oil absorbed during par frying is expelled from the product during finish frying. Further, the expulsion of par-frying oil was found to occur in the early stages of the finish-frying step. Experiments involving different combinations of par-frying and finish-frying oils showed that the relative proportions of the 2 oils did not depend on the individual fatty acid profiles. This study concludes that any positive health benefits of using an oil having a favorable FA profile for par frying, can potentially be lost, if the oil used for finish frying has a less favorable composition.

“Ce n’est pas elle qu’on voit”: the photograph in the work of Annie Saumont

The incorporation of ekphrastic evocations of photographs into fictional works is a growing trend charted by (mostly) literary and (occasionally) art critics interested in the effect of their inclusion in a narrative. What has emerged as a veritable affinity of photography with literature has produced a fertile interdisciplinary critical discourse around areas of intersection between visual and verbal. With regard to short fiction, the photograph is often subject to investigation as analogy, the photograph and the short story being considered metonymically related with regard to form and effect. This notion of a structural equivalence between short story and photograph is one stressed by author/photographer Julio Cortàzar, concerned to highlight the quality of intensity he ascribes to both forms, which he saw as ‘cutting out a piece of reality’ in order to ‘breaking out’ into a wider one. Given Annie Saumont’s oft-cited admiration of Cortàzar’s work it is unsurprising that in her own writing – of stories themselves often classed, in their elliptical density, as verbal snapshots – she should take an interest in photographs and/or photographers. This article seeks to explore and analyse different values Saumont ascribes to what was paradoxically described by Barthes as ‘invisible’, in that what we see when viewing a photograph is, (often treacherously), ‘ pas elle qu’on voit’: never, or never solely, the actual object itself …