Literature

In multiple interviews Moshfegh notes how she explored third person narration as a technique in her novel Lapvona. Compared to her other works that focused primarily on the internal experiences of a single character how did this change in narrative style affect the overall tone of the work and how does the narrative voice develop into a character itself. One could explore how the work contrasts the individual against the collective, moving from the experince of a single character to the experience of Lapvona as a whole not only for the characters but for the reader as well. There is also a tension with the narrative voice's interpretations and the characters subjective experiences. This can particularly be seen in the moments of miscommunication, where the absence of understanding contrasts with the third person expanded view. This can perhaps be seen as contributing to the dark humor of the story. Moments of humor arise in part by the expanded view of the reader due to the narrative voice where the absurdity of some events becomes clear. Overall the third person narration comes across as a subtle but powerful and permeating influence and an exploration into the direction of this influence can be fruitful for a deeper understanding of the work as a whole.

In stories where some characters are immortal – i.e. living for a very long time without aging – the subject of romance can be a touchy topic. It is hard to find people with shared life experience when everyone else measures life in decades rather than centuries. There is often a question of power imbalance when one side of a relationship is so much older than the other.
On the other hand, an immortal character finding romance with a regular mortal is an example of love bridging gaps. It means the immortal has chosen to care about people, even though he will outlive all of them.
Examine arguments for and against these age-gap romances. Examples include Buffy the Vampire Slayer, Twilight, the Immortal and Dupli-Kate from Invincible, Thor and Jane Foster from Marvel, and more.

With the growing popularity of platforms like TikTok, micro-communities like BookTok are influencing the reading/publishing industry. A recent example of this is Rebecca Yarros' 'Fourth Wing' which released in April 2023. The sequel to this, Iron Flame, was released in November 2023. This is an unusually short time line for traditionally published work and has lead to some quality issues. A vast amount of readers have reported issues with quality in terms of printing (i.e. whole chapters missing, headers missing, etc) but also in terms of writing (lack of editing or depth in plot).

Is the publishing industry changing? Is it attempting to mimic the quick release model of indie authors in order to exploit the market and make more money?

The Metaphysicals refer to a loose collective of poets such as John Donne, George Herbert, Andrew Marvell, Abraham Cowley, Richard Crashaw and Henry Vaughan, who represent some of the highest achievements of the 17th-century English literature. A most conspicuous feature of their style can be described as using images concrete and tangible, richly appealing to human senses and emotions. The label, “Metaphysical,” was attached to them by later generations. “Metaphysical,” as a style label, refers to the so-called “figures of thought” marked by the use of conceits, witticism and paradoxes. But the term still fails to capture the ‘physical’ side of the Metaphysicals – that is, the corporeality, even fleshiness, in their using concrete images and metaphors on the one hand, and expressing sensational feelings and emotions on the other. How, then, do the ‘physical’ and the ‘metaphysical’ meet in 17th century Renaissance poetry? What makes the Metaphysicals 'metaphysical'? This topic can be explored either by studies of common characteristics of these poets' works or by close criticism of individual poets.

Orwell’s 1984 ends with an in depth record of Newspeak, the language imposed upon citizens by the novel’s fascist government.
Examples are:
1) ‘renaming’ words (such as ‘concentration camp’ being changed to ‘joycamp’)
This is interesting to analyse in light of the social theories which speak of how language constructs reality – if we refer to a concentration camp as a ‘joycamp’ for long enough, does that change the way we think of it? (eg. The Sapir-Whorf hypothesis which suggests that the structure of language shapes the speaker’s worldview or cognition/ Wittgenstein’s famous ‘the limits of my language mean the limits of my world’/etc)

2) reconstructing words to make them ‘noun centric’, such as eliminating the words ‘cut’/’cutting’/etc, and making them ‘knifing’/’knifed’ and so on.
Not only does this reduce the number of words we have at our disposal, it also limits the flexibility of language. To give a basic example, ‘cutting edge’ is an adjective that highlights the word succeeding it – ‘knifing edge’ instead places the focus on the knife. In due time, it is likely that ‘cutting edge’ as a concept itself may become obsolete in the absence of the word ‘cut’.
These ideas are relevant in most linguistic analysis, but there may be scope to analyse them in the light of current corporate and social structures. For instance,
– ‘Sending a message’ is a phrase that has largely given way to ‘inboxing’ or ‘DM’ing. Does this restrict the way we think of communication at large? Is there a potential future where written communication becomes unthinkable without monopolies such as Meta intermediaries? What of ‘Googling’ or ‘Xeroxing’ (instead of ‘looking for information’ or ‘making a photocopy’)?

– Do the words corporates use modify our understanding of social structures? When Facebook switches the name for a user’s personal page from ‘profile’ to ‘timeline’, do we think of the personal page as less static and virtual, more a tangible piece of our lives?

– Censorship in both mass media and private social media. Instagram and Google by default blur out posts containing certain words and images (‘Safe Search’) – there is little regulation as to what these words/images must be. Is the possibility that by routinely hiding these terms and visuals, the user’s reality is reconstructed to erase certain perspectives and realities?

For many of us, our first exposure to nonsense literature in general came in the form of nonsense poetry. Authors such as Edward Lear, Lewis Carroll, Dr. Seuss and Spike Milligan used non-sensical verse to subvert the power of language to label and own the world. Oxford scholars now suggest the origins of nonsense literature may be found in the 11th century, although there is circumstantial evidence to suggest an even older origin, possibly as far back as Aristophanes.

Nonsense poetry (and, by extension, nonsense literature in general) is now an officially recognised subset of the international language of literature, and elements have even crept into everyday usage. For instance, few people know that the oft-used word 'nerd' was invented by Dr. Suess.

In addition to the names listed above, Ivor Cutler, James Joyce, Rudyard Kipling, Jorge Luis Borges, Samuel Beckett, Eugène Ionesco, François Rabelais, Flann O'Brien, Velimir Khlebnikov and Sukumar Ray (to name but a few) have all used either nonsense or nonsensical structure in their works, as have Bob Dylan, David Byrne (Talking Heads) and Syd Barret (Co-founder of Pink Floyd).

Discuss how the anarchic power of nonsense writing can be liberating, both to the author/writer and to the reader/audience. Choose whatever examples you wish and show how, by breaking the established rules of grammar, punctuation and capitalisation, nonsense can also sometimes even act as a remedy for a mad, mad world.

Analyze different ways that queerness has been tackled in literature over time, with particular attention paid to the shift in recent years away from queer coded characters to queer characters whose sexuality/queerness is explicitly stated and explored in the text. One of the most direct ways to look at this is through fairy tales. Many fairy tales when read through a queer lens reveal a rich queer subtext, even if they were not written with this intention. On the other side of the token, in modern times it's common to write explicitly queer retellings of fairy tales, which bring that subtext to the forefront and make it textual, rather than regulating it to a subtextual reading. (This could be applied to storytelling as a whole, but it would be useful to narrow it down to one specific medium like classic vs contemporary literature. It could also have examples from TV & anime/manga).

An article on this topic could also spend time on queerbaiting, which in some ways occupies a unique middle ground: characters that are queer coded enough for queer viewers to find them compelling and therefore a profitable audience, but not so explicitly queer that the writers ever have to commit to that reading (the show Supernatural comes up a lot as an example in these sorts of conversations). With many stories, it is worthwhile to go back and read them through a queer lens due to them containing rich queer subtext that wasn't able to be made explicit in the time it was written (Picture of Dorian Grey by Oscar Wilde and the Awakening by Kate Chopin comes to mind). However, when it comes to modern stories where censorship is less of a valid obstacle, this reliance on queer coding without explicit confirmation becomes baiting when done intentionally. (There is plenty of grey area when it comes to unintentional queer coding and where that line is drawn.)

Additionally, this could also explore which types of queer characters are most needed in media today. While queer coding in classic literature is very important to look back on, now that explicit queer narratives ARE more normalized, it feels reductive to go back to storytelling that keeps all of its queerness beneath the surface. Nevertheless, a counterpoint to this push for explicit queer narratives would be that, at times, this type of storytelling can become heavy handed. It may be an issue where everyone's ideal form of queer representation is subjective.

The manosphere movement, which propagates misogynistic and discriminatory views under the guise of men's empowerment, has the potential to negatively impact the reputation and content of the self-help book industry. One danger is the appropriation of common self-help concepts like building confidence or setting goals by manosphere advocates, who then apply these principles in toxic ways to reinforce regressive attitudes toward women and gender roles. As a result, some constructive self-help ideas risk becoming tainted by association. Additionally, if manosphere ideology creeps into the mainstream, it spreads an insidious narrative that relationships are transactional, women use their sexuality as leverage, and traditional notions of masculinity are ideal. This worldview could filter into otherwise positive self-help books, contaminating them with embedded toxic assumptions.

The manosphere also relies heavily on junk science and evolutionary psychology theories to justify their beliefs about female manipulation or male dominance hierarchies. The use of such pseudo-science as evidence in certain self-help books lends an air of credibility to these harmful ideologies. Self-help books appeal to vulnerable audiences seeking life improvement. Manosphere influencers may capitalize on this demand to attract followers and indoctrinate them with extremist, discriminatory attitudes toward women disguised as empowerment.