Book Review: The Deadly Life of Logistics: Mapping Violence in Global Trade
Book Review: The Deadly Life of Logistics: Mapping Violence in Global Trade
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书评：物流的致命生命：绘制全球贸易中的暴力
DOI：
10.1177/1474474015575475
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发表时间：
2016
影响因子：
1.6
通讯作者：
G. Kovács
中科院分区：
文献类型：
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作者：
G. Kovács
(2009)。我的阅读事件似乎是自我放纵，但《文学地理学》最重要的分析线索是，文本是一种协作的事件，作者、读者、地点和空间以新的、不同的、不可模仿的方式结合在一起。这是一个大胆的立场，因为它可能会使霍姆斯的书受到文学相对主义的指责，但这是没有抓住要点的：地理对小说的创作及其意义至关重要。20年前，马克·布罗索（Marc Brosseau）敦促文学地理学家更充分地关注被称为“文本”的复杂事物，将我们引向文学研究的理论和方法霍恩斯的书敦促文学地理学家以同样的关注程度关注空间理论和方法。借鉴多琳·梅西（Doreen Massey）和爱德华·索雅（Edward Soja）等人的作品，霍姆斯挑战了文本是具有单一地理位置的稳定主题的观点。相反，它们是跨越空间和时间的过程和关系集：它们具有多个地理位置，而这些，霍恩斯证明，正在以这个分支学科以前没有充分考虑过的方式起作用。以空间表示为例。通常，我们认为这些都是描述性的或局部性的，但关注这些空间的叙事，不同角色之间的相互关系，揭示了文本中同时存在的多个时间和空间。另一种使传统的细读策略复杂化的方式是，她讨论了《伟大的世界》和《了不起的盖茨比》之间的交叉交叉（第119-28页）。文学地理学家长期以来一直注意到其他空间是如何通过文本间的参考而被揭示的，但霍恩斯进一步提出，这些参考是如何被聚焦的，通过人物而不是作者，在规模上产生文学空间，并通过以前被忽视的媒介。这对我们理解文学空间的意义在于，它有一个我们以前没有考虑过的深度。它是由真实的和想象的代理人创造的，每个人都把自己的背景故事带到文本的事件中。代理是这本书的一个压倒一切的主题：作者的代理（霍恩，麦肯，还有斯科特·菲茨杰拉德），读者的代理（霍恩，我，你），还有作为读者和叙述者的角色的代理。这种对能动性的探索在方法论上和理论上都是创新的。文学地理学家对书籍、经典和作者都很满意，而在某种程度上，受文本研究的影响，霍恩斯在其他地方寻找她的材料。在线阅读小组、亚马逊书评、文学代理机构、作者访谈和宣传材料同样是文学地理学的内容，而在这些空间中，文本往往以“学院”内部人士无法预见的方式发生。这种进步精神承诺了一种非常真实的批判性文学地理，其中差异问题，认识的偶然性和意义创造的特殊性脱颖而出。我的文学地理学文本活动正在进行中；我经常回到那里，每次回来，我都开始了一次新的智力之旅。这是一篇挑衅性的文章，它的结束语似乎是最合适的方式来结束这篇评论：“在这篇文章中，现在发生的事情取决于你”（第182页）。
(2009). The event of my reading may seem self-indulgent, but the overriding analytic thread of Literary Geographies is that texts are collaborative happenings in which writer, reader, place and space come together in new, different and inimitable ways. This is a brave position, for it could lay Hones’ book open to charges of literary relativism, but this is to miss the point: geography matters to fiction’s making and its meaning. Twenty years ago, Marc Brosseau urged literary geographers to attend more fully to that complicated thing called the ‘text’, leading us towards theory and method in literary studies.1 Hones’ book urges literary geographers to attend to spatial theory and method with the same degree of attention. Drawing on the work of those like Doreen Massey and Edward Soja, Hones challenges the idea that texts are stable subjects with a singular geography. They are, instead, processes and sets of relationships that spin out across space and time: they have multiple geographies and these, Hones demonstrates, are at work in ways the subdiscipline has not fully considered before. Take representations of space. Often, we see these as descriptive or locational givens, but attending to the narrative making of these spaces, to the interrelations between different characters, reveals the multiple times and spaces simultaneously co-present within the text. Another way in which Hones complicates traditional close-reading strategies is through her discussion of the cross-hatching between The Great World and The Great Gatsby (pp. 119–28). Literary geographers have long registered how other spaces are disclosed through inter-textual references, but Hones pushes this further suggesting that how these references are focalised, through character not author, generates literary space at scales and through agents previously overlooked. What this means for our understanding of literary space is that it has a depth we have previously not considered. It is created by agents both real and imagined, each of whom brings their own backstory to the event of the text. Agency is an overriding theme within this book: the agency of author (Hones, McCann but also Scott Fitzgerald), reader (Hones, me, you), but also characters as readers and narrators. This exploration of agency is as methodologically innovative as it is theoretically so. Where literary geographers have been comfortable with books, canons and authors, Hones, influenced in some way by textual studies, looks elsewhere for her material. Online reading groups, Amazon book reviews, literary agencies, authorial interviews and promotional materials are, Hones suggests, equally the stuff of literary geography, and it is often in these spaces that texts happen in ways unforeseen by those within the ‘academy’. This progressive spirit promises a very real critical literary geography in which questions of difference, the contingency of knowing and the specificity of meaning making come to the fore. My text event with Literary Geographies is ongoing; I return to it frequently, and with each return, I begin a new intellectual journey. It is a provocative text and its closing lines seem a most apposite way to conclude this review: ‘In this text event, what happens now is up to you’ (p. 182).