This study focuses on the discourse that orders and creates a logic of the extraterrestrial during postmodernity, what I term "Fringe." Using Foucault's notion of discourse, I define and theorize Fringe and its formation during postmodernity, looking at the particular features of the historical moment post-1960 that contributed to the creation and regulation of a particular extraterrestrial. I then investigate historical conceptions of the extraterrestrial from Aquinas to Kant. This genealogy of the extraterrestrial reveals a rich history of the extraterrestrial and compares this history with Fringe. After this I discuss two precursors of Fringe discourse: the Society for Psychical Research and the writings of anomalous researcher Charles Fort. This investigation of pre-Fringe notions of the psychical in discourse shows how the SPR and Fort's work both created new ways of looking at and speaking about phenomena falling outside the purview of "normal science" and contributed to the formation of Fringe while also being distinguishable from it. Finally, I analyze two popular iterations of Fringe discourse—the ancient aliens hypothesis and the abduction narrative—as popularized in the works of Erich von Däniken and Whitley Strieber.

Considered privileged by social standards, with two loving parents and a spot in an elite, all-girls private school in New Jersey, Charlie should be happy. But at Oak Crest College Preparatory, if you're not a straight-A student, you're dumb. If you're not a star athlete, you're invisible. And if you don't compete to be the best? Well, you might as well flunk out. Charlie is already failing math, and it's only October. Why not throw school—and maybe her whole life—away? Then, one day, Charlie finds a suicide note in the bathroom at school, and her world is turned upside down. As she goes through the process of trying to find out who wrote it, the note writer herself remains hidden to herself and everyone else. A perfectionist all her life, she strives to be everything her parents and teachers expect, but does not know what truly makes her happy. The pressure to fulfill expectation is starting to weigh on her, but no one, except Charlie, can know she is thinking of suicide.

Stories and a novel.

This project consists of a union between sci-fi, magic, and realism. Using magic in the same contexts of realism is to make a legend come to life in our modern world. All three stories deal with difficult situations: the struggle of creation and insecurities, the struggle of suicide and overcoming traumatic experiences, the struggle of disabilities and disadvantages and turning it into strength. These topics are introduced through characters who find themselves coming up with solutions through fantastical means as outlets for their pain. In "She Who Fell in Love with the Sky and Sea," an artist and an unlikely mythical muse come together to create the best art the world has ever seen, yet the art becomes unclaimable to the artist at the twisted eyes of her muse. In "Death Date," death has visited Sola through a psychic prediction arriving with perfect timing. She is given one year to live. Struggling with a traumatic past, her death date encourages Sola to live out the rest of her days and stop her original plans. The Switch explores the conditions of living in dystopian lands with a neighboring land that is a utopia. This novel explores the life of Sain as …

Her Terrible Splendor is a poetry collection that transports the Greek witch-goddess Circe from her mythical island of Aeaea to modern-day East Texas, where I was raised. By locating Circe in the Piney Woods, I heighten the strangeness that I identify with that setting and open up new contexts for considering Circe as a woman, as an enchanter, and as figure of retelling and revision. Circe appears in an array of roles—friend, lover, mentor, alter-ego, muse—as the poems view her through different lenses, including ekphrastic responses to visual art, rewritings of myths, and "portrait" poems that cast people from the human speaker's life as the goddess herself. A powerful mythic woman who works alone and creates a haven for strange creatures and lost humans, Circe offers a way for the manuscript to consider the complex, multifaceted process of coming of age as a woman, self-making as myth-making.

Chicana decolonial feminism asks us to re envision a world that allows for various forms of beings, creating identities based on political coalitions, having an active compassion that translates into direct action that seeks to dismantle binaries that reinscribe colonialism. Chicana decolonial feminist thought actively seeks to dismantle sexism, to dismantle racism, to focus on personal experience as theory, to focus on the body as knowledge, reconceptualize knowledge, envision new ways of being, and writing that is accessible to all. I use two concepts active compassion and interconnectedness of being that are central to chicana decolonial feminism. Chicana feminist texts and newspaper articles from the 1970s are analyzed to demonstrate how chicana decolonial feminism is seen in these texts.

Hameline, Cassia Leigh. "Stay for the Heron: Essays." Doctor of Philosophy (English), May 2023, 146 pp., works cited, 27 titles. Stay for the Heron: Essays is an essay collection that explores truth, perception, and loss as it follows the writer's movement across landscapes that speak to a past she had, for so long, tried to run from. The essays in this collection seek to understand how we can write about difficult topics like abandonment, infidelity, and acts of self-destruction: do we get close to them? do we create distance? at what range are we able to relive the moments that caused us pain, or anger, or passion, or love and present them in written form for others to see? The collection challenges the narrative nonfiction form in preference for a more fluid, lyric, and hybrid genre that more accurately presents the material—at times fuzzy, difficult, confusing—at hand. Through its literary experimentations, such as fragmentation, lyricism, shifting points of view, and photography, the works here deconstruct what we consider "traditional" in the Essay genre and, instead, supports a shift towards a more contemporary tradition. The essays in Stay for the Heron explore the persona's geographical movement, paying close attention to the …

Scholars today deem Robinson Crusoe the first British novel. Defoe's construction of Crusoe as the atypical British traveler asserts his collective subjectivity within the framework of intimate personal experiences, accentuating his individualism. Yet, as scholars of Orientalism and Transatlantic theory can attest, calling Robinson Crusoe the first novel provides problematic methodologies that arise from affiliating the novel form to a structure associated the British colonialism and fashioning a "superior" British subject. In this essay, I work to emphasize the hybridity present within the novel, utilize historical context to provide a voice to marginalized Indigenous Americans to show how the format relies upon a relationship between collectivism and individualism, assert Indigenous voices matter in the novel, and analyze the relationship of a new collectivism that arises from narratives that cross into American spaces.

Mexican Goodbye is a collection of poetry that interrogates the dichotomy of a family fractured in conjunction with a speaker's coming of age. The collection reckons with divorce and the subsequent dissolution of the speaker's Mexican American family. Individual poems deal with sisterhood, daughterhood, Chicanismo, grief, the intergenerational impact of the immigrant experience, and inherited trauma. The titular poem illustrates the typical Mexican goodbye, a Latine despedida which can last hours, extended by continued chisme and prolonged conversation. It is this cultural phenomenon that the collection endeavors to encapsulate by lingering in narrative, listing childhood experiences, and allowing the speaker to yearn to return and remain in the past. Ultimately, the speaker desires to linger in the farewell.

This dissertation examines the rise of the racialized apocalyptic genre from 1978 to 2019. The period chosen reflects the social shift of the American political right into a party that accepts white supremacy as a tenet. In the post-Civil Rights era, white Americans considered the issue of racism to be solved. With the historic Voting Rights Act and other major victories in the 1960s there was a moment when it seemed America may turn a corner. However, when Richard Nixon took office in 1969, he originated what would be a long process of positioning the American right against intellectualism, minorities, and progress. Nixon, and the development of the new southern strategy would reach decades into the future, utilizing coded language and pitting Americans against one another. Research examining the racialized elements of the American right from Nixon to contemporary times is well chronicled and vast.

This dissertation deploys queer theory and temporality to investigate the ways in which American authors were writing about identity at the turn of the twentieth century. I provide a more expansive use of queer theory, and argue that queerness moves beyond sexual and gender identity to have intersectional implications. This is articulated in the phrase "queer textual libido" which connects queer theory with affect and temporal theories. Queerness reveals itself on both narrative and rhetorical levels, and can be used productively to show the complex navigation between individual and national identity formation.

To what extent does Margaret Atwood draw from American slavery to write The Handmaid's Tale? How does Offred's narrative compare with traditional slave narratives, and to what effect? This thesis explores intersectionality (or lack thereof) in The Handmaid's Tale and compares Offred's narrative to traditional slave narratives to find answers to why Atwood chose to draw from American slavery to write her novel in the first place. Offred's narrative is compared to three traditional slave narratives written/orated by three women, Harriet Jacobs, Hannah Crafts, and Mary Prince, to demonstrate how enslavement dehumanizes Offred in similar or different ways to these three women, and to reveal how the enslavement of and violence committed against the female slave body ultimately deforms even the most intimate human relationships in both Gilead and in historical American slavery. I discuss other tactics used to maintain control of the slaves both in Gilead and in historical American slavery, with particular emphasis on the development of justifications for enslavement in both societies. Violence against the body is not enough in Gilead, so Gilead implements religious rhetoric and controls knowledge to maintain its control of the Handmaids. Despite being used to control, religion also becomes a source of …

This dissertation is composed of a critical preface, "Reconciling Art and Account in the Creative Essay," and the essay collection Resurrection Attempts: Essays. The preface situates the following essay collection within the genre of contemporary creative nonfiction. Specifically, it argues that genre-bending or genre hybridity are inherent and unavoidable features of creative nonfiction writing and should be celebrated, rather than denied or lamented. It points to other writers who deliberately challenge the bounds of genre, and discusses some of the collection's innovations in form and other ways it offers experimentation, such as use of unusual or borrowed points of view, disruption of chronology, and adoption of elements from other genres of writing, including fiction, poetry, and academic. Ultimately, embracing the artistic side of creative nonfiction (as opposed to its "purely" journalistic side) allows for heightened intimacy with the reader, a much wider breadth of storytelling, and a more vulnerable—and therefore more truthful—interrogation of legacy and the human experience. Resurrection Attempts is a collection of essays exploring the writer's rural Texas childhood and the early and tragic losses of her parents, including the effect of those experiences on her adult life and performance of motherhood. The voices of the writer's sisters …

"Improvisation without Accompaniment" is a lyric investigation into the ways that an awareness of mutability and death can clarify or distort our experience of the world. The poems in this collection draw upon the speaker's small-town Texas upbringing to explore broader questions that arise as a consequence of his burgeoning awareness of mortality: What are the moral imperatives for an individual citizen in a larger political community? What are the bidirectional effects of our relationship with place and the environment? Given the painful transience of human experience, what does it mean to live a good life? The book is characterized by psychological poems that illustrate the mind's movement, poems that use syntactic variation and tonal shifts to indicate an openness to changes of heart and mind. "What Passes Here for Mountains," an in-progress poetry manuscript, is driven by a similar impulse to explore the precise ways that our beliefs and opinions affect our immediate experience. These newer poems address anxieties about climate change, the effects of childhood trauma on the adults those children become, and the obstacles to self-actualization.

A collection of short fiction stories that fixate on the role of the strange and the imagined.

The early modern English masque is a hybrid form of entertainment that included music, dance, poetry, and visual spectacle, and for which there is no modern equivalent. This dissertation looks at four incarnations of the Elizabethan and Jacobean masque: the court masque, the masque embedded in the progress entertainment, the masque embedded in the commercial play, and the masque embedded in the commercial play performed at court. This study treats masques as a form of elite theatre (that is, theatre for, by, and about elite figures like monarchs and aristocrats) and follows them from the court to the countryside, through the commercial playhouse, and back again to the court in pursuit of a more nuanced picture of the hybridity and flexibility of early modern English performance culture.

Engine Running: Essays is a collection of creative nonfiction that explores, in parts, a persona's distancing from home and self against the backdrop of an increasingly fractured family doing the same. Through a variety of forms, the essays seek to balance themes like loss, self-discovery, and manhood in reflections on the role of childhood memory, the early revelations and experimentation of sexuality, and the carving-out of personal identity in West Texas.

Because You Previously Liked or Played is a poetry manuscript that attempts to respond to the Trump administration in a new way unique to the medium of poetry. Trump is the central, all-pervading subject of this text, but the rise of web 2.0 and new media which normalizes a quick and unrelenting consumption of information is another essential focal point. The manuscript works both within and against the various political channels, discourses, and entanglements, within and against the various ways these mediums affect and are affected by Trump. Ultimately, the problems associated with our information age inform much of the manuscript's sense of loss, confusion, and questioning, but they also give shape to a spirit of cultural critique, amounting to a register that both speaks from within but looks from outside the Trump-Technology continuum. In order to achieve this effect, the manuscript approaches this Trump-Technology continuum and the ensuing political climate from a variety of contradictory emotions and responses to the reality we find ourselves in via a multitude of psychological frames, outlooks, and experiences, however uncomfortable, that this presidency has altered. And it does this through poetry's unique ability to provide the reader with an embodied and immediate experience, …

Nearly 30 years after its publication Gloria E. Anzaldúa's book Borderlands/La Frontera: The New Mestiza remains more relevant than ever, particularly her discussion of borderlands as more than physical boundaries. In her book, she theorizes and explores how borders can possess psychic, social, and geopolitical qualities, and in order to articulate the nuances and challenges of border-culture, she invents a new language for underrepresented poets to discuss their poetics. The goal in crafting this essay is to reclaim Anzaldúa as an author worthy of consideration for her poetics. History and bloodlines are central to Anzaldúa's argument that poetry allows for language to transform violence, or historical and bloodline traumas, into one's own new myth-making. The capacity to redefine a border and make it borderless is discussed through the works of Natalie Scenter-Zapcio and Vanessa Angélica Villarreal's poems, in addition to a few key anthologies and my own collection, which seeks to sit in ambiguities and to reclaim and affirm histories. Ultimately, conversations about the poetics of Anzaldúa and her influence on other poets should expand our discussion of American poetics. Her focus on "psychic unrest" gives power to language over ambiguity and could be greatly useful to other poets beyond …

In this work, I examine and analyze women representation and themes in Pakistani literature in order to explore the emergence and development of feminist thought as reflected within it, from pre-independence to present day Pakistan. One of my central arguments is that the theorization of a workable feminism in the conflictual Pakistani state depends on understanding and accounting for the socio-political, religious, and economic milieu of the country under which women live. In the following chapters, I delineate the challenges feminism in Pakistan faces in conjunction with the analysis of selected literary works to highlight the way the figure of the woman emerges in public discourse. It is through this engagement, that I demonstrate, the complexity of Pakistani feminism and its negotiations with nationalism, religion, and patriarchy to create the basis for theorizing a workable Pakistani feminist politics. Following Dipesh Chakraborty's theorization of historicism in his book, Provincializing Europe, the basic premise of this dissertation is to explore the emergence of feminist thought in Pakistani literature while keeping the changing religio-political and socio-economic realities of the country at the forefront to establish an analysis grounded in worldliness of these texts. The goal of this exploration is to theorize a feminism …

In the wake of a disturbing decades-long trend in both print and visual media—the appropriation of Black history and culture—another trend is observed in works of African American fiction: the reclamation of the appropriated imagery, in both neo-slave narratives and works of Afrofuturism. The image focused on specifically in this paper is that of the ship, which I argue serves at least two identifiable functions in Black fiction: first, to address the historical treatment of Africans and their American descendants, and secondly, to demonstrate Black progress and potential. Through an exploration of three works of African American fiction, works that take their Black protagonists beyond the ship's dreadful hold, the reader can see the important themes being channeled: Charles Johnson's Middle Passage sets a course on how to arrive at true freedom, enacting a process of Black liberation that begins with learning how to survive "in the wake," a concept derived Christina Sharpe's work In the Wake: On Blackness and Being. Rivers Solomon's An Unkindness of Ghosts demonstrates not only the effects of "the hold," but how the hold itself has evolved from its origins on the slave ship; as new holds are constructed and demanded by society, rebellion is …

Though scholars have discussed postmodernism in Islam and South Asia before, they tend to (i) assume Muslims as a monolithic group, bypassing the diversity of different cultures and the interaction of these cultures with indigenous practices of Islam; (ii) study postmodernity synchronically, thereby eliding histor(ies) and the possibility of multiple temporalities; and (iii) compare postmodernity in non-Western countries with Western standards, and when these countries fail this test, declare them not-yet-postmodern, or even modern. Negligible and scant discussions of postmodernity that do take place inside Pakistan, most of which are published in newspaper articles, tend to focus on Western postmodernity and its evolution and contemporary position. There is no book-length discussion of postmodernity and postmodernist literary texts from Pakistan and its curious sociopolitical blend of Indo-Muslim and Anglo-Indian influences and interaction with the Islamic political foundations of the country. This project discusses postmodernity and postmodern literature in Pakistan. I argue that, because of a different political, cultural, and literary climate, postmodernity and postmodern literature in Pakistan are distinct from their Western counterparts. Because of technological advancement and neoliberal globalization, Pakistan experiences a different kind of postmodernity resulting in the production of a different kind of postmodern literature. I trace the …

Trauma novel refers to a work of fiction that discloses serious loss or intense fear on individuals and groups. The traumatic experience is repetitious, timeless, and unspeakable. Gayl Jones, Jesmyn Ward, Tayari Jones, Alice Walker, and Toni Morrison are only a few authors who have written this type of novel. The traumatic events that occur in the books are rape, miscarriage of justice, and slavery, to name a few. The experienced trauma manifest as fragmented memory, silence, commitment phobia, intimate distance, and feelings of abandonment. In her book, Quiet As It's Kept: Shame, Trauma, and Race in the Novels of Toni Morrison, J. Brooks Bouson argues that the traumatic experience of slavery and "white racist practices" throughout history produced a "collective African-American experience" which appears in fiction and in the fabric of American culture (4) as intergenerational trauma. African American authors are reimaging history told primarily in first and third person limited, and even if the novel has an omniscient point of view, it can change to third person limited. They use point of view to adeptly navigate the effects of trauma on the psyche interweaving closeness and distance to manipulate the emotional, intellectual, and moral responses the author desires. …

Stalking in the nineteenth century was a dangerous, increasingly violent behavior pattern circulating in society. It was as much a criminal act then as now, and one the Victorian novel exposes as a problematic form of unwanted intrusion. The realist novel of this period alongside its more sensational counterparts not only depicts scenes of close surveillance, obsession, and harassment as harmful. It exposes the inability of social laws to regulate such conduct. I argue Charles Dickens is the most pivotal figure in observing how stalking emerged as not only a fictional motif, but as an inescapable, criminal behavior pattern. Throughout his work and its nuanced characters, Dickens reveals underlying truths about stalking and stalkers. Early books like Barnaby Rudge and The Old Curiosity Shop feature Gothic villains and predatory motifs adapted from prior literary genres. The works of his middle period foreground stalking in the context of the modern city and institutional power. In the final decade of his life, problems associated with unrequited love examine the pathological patterns of romantic obsession in modern stalker archetypes. Such an analysis and its transformative insight perceive crucial truths about unwanted intrusion, social attachment, and problem of predatory behavior.