Ian Demsky on Joseph McElroy’s Ancient History and welcome interruptions.
Salvatore Proietti straddles science and fiction to offer an interpretation of a McElroy Cyborg.
Joseph Milazzo writes about one of the least written books by Joseph McElroy.
Excerpted from Water Writing - an essay; presented as part of the ebr Critical Ecologies thread; concurrent with a literary Festschrift in honor of Joseph McElroy’s lifework
On Joseph McElroy’s Fiction as a lifelong, dramatic investigation of noesis - that abstract butevocative concept rooted in Platonic idealism and redefined(through Phenomenology) asthose ineluctable acts of consciousness that constitute reality.
Andrew Walser introduces a gathering of essays on and by the novelist Joseph McElroy.
Joseph McElroy shares field notes and reflections from Mount St. Helens.
Nearly two decades after the great eruption of May, 1980, a slow, remarkable regrowth of flora as well as a massive human involvement feed back to me old questions about the ecological order and our place in it. “A mountain bounces back,” I read; Mt. St. Helens has struggled “to be born again.” That’s not it, I think, but I am moved by the reappearance of plants and trees and animals and fish at Mt. St. Helens - the symbiotic reaching out of fungus filaments to plants roots deep beneath the volcanic ash, the herd of Roosevelt’s elk returning to feed on grass sprouting from the earth of an apparently unwelcoming ashy, silica-infused but now media-hyped “miraculous mudslide.” This blast equal to 2500 Hiroshimas the environment did, not us. But what is the environment? I search the abstracts of some of the more than 500 vineyard-laboring, exact, and specialized field studies that have provided “an excellent baseline for tracking ecosystem reassembly here.” I puzzle the human significance, if any, and will make a few field notes of my own to locate among these phenomenal events the voice and place of my species too. I take for granted here that the human organism finds itself in an ecology humanly social and political with all that that, from Plato to Bateson and Schumacher and the Bureau of Land Management, tries to comprehend; but I wander here in a specifically volcanic wilderness and in the presence of the psyche.
Toward a definition of a postmodern genre: the field-novel.
“And the field was him,” a sentence in Plus, a novel by Joseph McElroy, warrants an inquiry into field and the novel. The novelty of McElroy’s fiction grows from the attempt to use the structure of a novel as itself a field, presenting actions which occur within fields. He displays field as aesthetic structure, and field as content of aesthetic structure. So within the novel, events which occur within a field can also be seen as themselves constituting a field. In both field as structure and as content, the hero is intelligible as a region of a field, not as a sphere or core of individuality which passes through a field in fulfillment of a destiny.
Will I know more about my state? I am wild, in my haste, and I will live a new life. The letter is everywhere and I can’t answer for it. I’ll answer the letter. I can’t. But I will” (151). With these final sentences of the novel, McElroy accepts the undecidable relations between proof, with facts which are to be believed, and truth, which is upheld by faith.
Joseph McElroy shares field notes and reflections from Mount St. Helens.
Nearly two decades after the great eruption of May, 1980, a slow, remarkable regrowth of flora as well as a massive human involvement feed back to me old questions about the ecological order and our place in it. “A mountain bounces back,” I read; Mt. St. Helens has struggled “to be born again.” That’s not it, I think, but I am moved by the reappearance of plants and trees and animals and fish at Mt. St. Helens - the symbiotic reaching out of fungus filaments to plants roots deep beneath the volcanic ash, the herd of Roosevelt’s elk returning to feed on grass sprouting from the earth of an apparently unwelcoming ashy, silica-infused but now media-hyped “miraculous mudslide.” This blast equal to 2500 Hiroshimas the environment did, not us. But what is the environment? I search the abstracts of some of the more than 500 vineyard-laboring, exact, and specialized field studies that have provided “an excellent baseline for tracking ecosystem reassembly here.”
Toward a definition of a postmodern genre: the field-novel.
“And the field was him,” a sentence in Plus, a novel by Joseph McElroy, warrants an inquiry into field and the novel. The novelty of McElroy’s fiction grows from the attempt to use the structure of a novel as itself a field, presenting actions which occur within fields. He displays field as aesthetic structure, and field as content of aesthetic structure. So within the novel, events which occur within a field can also be seen as themselves constituting a field. In both field as structure and as content, the hero is intelligible as a region of a field, not as a sphere or core of individuality which passes through a field in fulfillment of a destiny.
He makes a statement–“I can’t”–which he must believe to be true, but which he must hope will not be proved to be true. So the young man says, “I can’t,” and then he modifies that with the bootstrapping troubleshooter’s resolve: “But I will.” The “I will” is a promise to prove his own prior statement to be false. In a model of how we think now, the perplexity is that the narrator states two propositions which he believes, both of which cannot be true at the same moment.