Empty Houses: Theatrical Failure and the Novel

About the Book

According to the dominant tradition of literary criticism, the novel is the form par excellence of the private individual. "Empty Houses" challenges this consensus by reexamining the genre's development from the mid-nineteenth to the mid-twentieth century and exploring what has until now seemed an anomaly - the frustrated theatrical ambitions of major novelists. Offering new interpretations of the careers of William Makepeace Thackeray, George Eliot, Henry James, James Joyce, and James Baldwin - writers known for mapping ever-narrower interior geographies - this book argues that the genre's inward-looking tendency has been misunderstood. Delving into the critical role of the theater in the origins of the novel of interiority, David Kurnick reinterprets the novel as a record of dissatisfaction with inwardness and an injunction to rethink human identity in radically collective and social terms. Exploring neglected texts in order to reread canonical ones, Kurnick shows that the theatrical ambitions of major novelists had crucial formal and ideological effects on their masterworks. Investigating a key stretch of each of these novelistic careers, he establishes the theatrical genealogy of some of the signal techniques of narrative interiority. In the process he illustrates how the novel is marked by a hunger for palpable collectivity, and argues that the genre's discontents have been a shaping force in its evolution. A groundbreaking rereading of the novel, "Empty Houses" provides new ways to consider the novelistic imagination.

Table of Contents:
Introduction Interiority and Its Discontents 1 Theater Demetaphorized 1 Theater Dethematized: Spatializations of the Novel 10 The Vocation of Failure 24 Chapter One: Acoustics in the Thackeray Theater 29 "The Play" 29 Trivializing History, or, Domesticity 33 Diminishing Returns: Vanity Fair's Theatricality 42 The Box-Opener: A Note on Becky Sharp 50 Empty House Theatricals: The Wolves and the Lamb 53 In the Recess of Consciousness: Lovel the Widower 56 Chapter Two: George Eliot's Lot 67 Theater and Abstraction 67 Romola, Felix Holt, and the Uses of Inwardness 74 The Spanish Gypsy's Universal Theater 82 Middlemarch, Daniel Deronda, and the Cast of Mind 91 Chapter Three: Henry James's Awkward Stage 105 Other Almost Anyhow 105 The Performance Imaginary: The Other House, 1896 113 The Performance Imaginary II: The Other House, 1909 121 In the Sociable Dusk of The Awkward Age 126 James and His Kind 136 What Does Jamesian Style Want? 144 Chapter Four: Joyce Unperformed 153 Joycean Exposures 153 Epiphany and the Obscene Body 158 Ibsen, Exiles, and the Scene of Sex 167 Backstage at the Library: "Scylla and Charybdis" 178 The Ineluctable Modality of the Legible: "Circe" 183 Epilogue In the Kingdom of Whomever: Baldwin's Method 192 Notes 207 Index 245

About the Author :
David Kurnick is assistant professor of English at Rutgers University.

Review :
Shortlisted for the 2013 MSA Book Prize, Modernist Studies Association "Empty Houses is an admirable book. Its willingness to question established views on the novel has enlightening results. In the boldness and originality of its arguments, it makes a valuable contribution not only to scholarship on the novelists it considers, but also more widely to our understanding of the novel as a genre."--Matthew Peters, Times Literary Supplement "Kurnick's thoughtful, subtle, well-argued book focuses on five writers closely associated with the movement toward, and the apotheosis of, interiority in the novel: Thackeray, George Eliot, Henry James, James Joyce, and James Baldwin. All had theatrical ambitions that were largely unsuccessful. Kurnick makes the case that the novel's shift from public spaces to psychological interior spaces is fraught with ambivalence, with 'longing references to the public worlds they would seem to have left behind.'"--Choice "Empty Houses: Theatrical Failure and the Novel advances a sophisticated, highly nuanced argument about the relationship of drama, performance, and fiction... Kurnick's argument ... is formidable and skillfully executed... [V]ery often brilliant and incisive."--Stephen Watt, James Joyce Literary Supplement