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Reviews
Book
Time:
Telling
Levi-Strauss,
Ford,
271.
Pp.
de Man,
Benjamin,
Lessing,
$37-50.
The
earlier
volume,
of
"something
an
event."
But
in the present
state
volatile
of
the
on
practitioners
because
on
insists
insistence
best
and
interpretation
deconstruction
conventions
nothing
more
we
which
"reading,"
of deconstruction,
of
than
was
both
attention
the
rhetorical
sense,
activity
reading.
to associate
with
and
disruptive
But
the
compelling
at work
operations
one
of
come
have
In
evaluation.
the
in
the
text.
And
when
results
Times
placed
as
as
exhilarating
have
of
changed,
at
romanticism
the
they
were
course,
and
vanguard
of
disturbing.
the mode
literary
of
studies
that
deconstruction
doesn't
possess
the
same aura it did ten or fifteen years ago. The reasons for the
fading of
deconstruction's luster are both complicated and banal, but theymay be
traced in part to its unlikely institutional success, itself the result in part of
powerful work done by a relatively small but highly influential and cen
tralized
group
struction
must
but with
of
of very
now
themore
romantic
studies.
critics.
fine
vie
not
only
No
with
a new
longer
a traditional
development,
romantic
decon
scholarship
the
appearance
of
Jacobs'
most
recent
books
34 (Summer
1995)
293
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294
not
BOOK
only
local
important
produces
REVIEWS
us of
but warns
discoveries,
the peculiar
aUure of historicism as it identifies the various traps that beset the histo
ricizing impulse. This is not to imply that the disciplinary turn to histori
cism is a primary or even secondary topic of these writings. Indeed, Paul
de Man's
mains
characterization
of
to
labors"?continues
of one
"virtue"
principal
the wider
to her more
apply
of Jacobs?that
re
she
recent
work:
with
the
exception
historicism's
depending
to
disciplinary
ascendance.
on
The
perspective,
and to many
debates
an
such
of historicizing
two
in these
essays
one's
either
blissfully
of the scholars
strain
important
of
briUiant
or
wiU
books
romantic
seem,
inattentive
maddeningly
that have made
a manner
none
One
studies.
understanding, with the historicities of texts, and with the limits of spatial
contextualization.
temporal
a very
and
order;
high
Both
both
are deconstructive
books
books
represent
of
performances
sort of
the
"obstinate
ques
suggested
and
cultural
their
by
space
designated
textual
transgressions
to read it as a
study
some
widely
disparate
ofthat
us
Romanticism
titles. Uncontainable
of
the
by
space.
the
texts
term
Time,
Telling
representations
their
confront
of
on
time,
temporal
the critical
addresses
and
romanticism
chronicles
the other
of
the
invites
hand,
in which
the ways
how
conditions,
they
teU time and how time performs its textual telling.But readers familiarwith
Jacobs' earlier work as weU as the work of her primary critical influences
(Benjamin, de Man, Derrida) wiU be aware that the presumed stability of
an
such
opposition,
as
that between
space
and
time,
is often
of
casualty
entanglements
of
time
and
its teUings,
the
of
consequences
which
acts
of
even
teUing,
when
they
to
attempt
time,
represent
interrupt
the
attempt
to
title
suggests,
revisit
and,
to
importantly,
reenact
the
that
"undoings"
occur
as
the
ticism's
inherently
is both contained
courts
the book
subversive
character.
and broken
the
always
But
the
of
roman
of containab?ity
as
suspect
issue
notion
productively ap
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it
BOOK
REVIEWS
295
proached by way of the Benjamin essay that Jacobs reads in Telling Time.
In this light, a "totality," the frame that would contain romanticism?
whether that is construed as a period in cultural history or the social or
context?is
from
broken
the start, much
like
political
always
incomplete,
to
the vessel
of language
the act of translation
which,
according
Benjamin,
to
to reveal
breaks
that it was
broken
"Romanticism"
with.
begin
only
thus becomes the proper name for the uncontrollable improprieties of the
text and the displaced name for the critical predicament in its encounter
with the non-totalizability, the non-containability of the textual perfor
mance. The agent of this "breaking" or cutting which criticism performs
only in a mode of repetition of the performance that constitutes the text
in the firstplace is language's rhetoricity,what Kleist's Penthisilea names the
of language."
Uncontainable
"dagger
What
does
Romanticism
to
manage
if not
gather
are
contain
no
countered
and
to the volume,
sequence
chronological
that of de Man's
Allegories ofReading:
are
readings
Kleist
and
its organization
calls
to mind
reenacted
without
the
claim
of
progression.
voice,
of
identity,
issuing
as
of
the
presumably
it does
"Improbable
of
189)?it
remains
from
language"?and
"the
by what
deflections"
unexpected
nature"
"history
182). But
(UR
in
undone
of
"irreproachable
for instance:
Veracities,"
authority?is
of
closure,
this
instance
as
history,
at
the
end
appears
of
by
"the
in Kleist's
of Kleist's
made
by the
invasion
of
language made
(UR
unclosable.
force
of words
and
their
consequences
for
the
rhetoric
of
reflection
upon?or
more
precisely?"look"
at a much
over
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296
a
BOOK
REVIEWS
concern
are "about"
of these
the
essays,
they
to recover
event
work
the
of
they
reading
texts. Nowhere
with
these
is this more
important
recurring
reading;
encounters
of
experience
in
and
own
their
at
issue
than
"On Looking
qualities
at SheUey's Medusa"
a poem
of
seems
that
at first
to
"simply
glance
the
reproduce
by
Leonardo's
danger
of
poem's
meaning
we
Are
representation?
or "is
gaze
the Medusa's
it the
as readers
to the
exposed
. . .
art that
of
representation
glements."
as
essay
to
reenact
and
reproduce
"traces"
the poem's
the poem's
and
involutions
various
"entan
the
demonstrates
extend,
as
Jacobs
scene"
to
to
demonstrates,
all
of
readers
the
poem,
"contemplate
implications"
are
8). We
(UR
performance
reading
a radical
it to
of
of
"conception
figurai
enough
gazing
(UR
nate
into
a mirror
formed
of
the
Jacobs makes
own
the poem's
element
transgressive
canvas
in Leonardo's
the
the beholder,
radical
sensible?is
not,
as
the Medusa
itself, of
transformation?of
of
"and
read
figuration:
it is indeed
of
a vapor
that
arises
a consequence,
the poem
"mocks
14). As
an
and
located
elsewhere"
realm
objective
from
her
own
the pr?tention
"more
cruciaUy
mouth"
to denomi
mocks
the
concept of a subject identical to itself" (UR 15). The poem's meaning is not
clarified by Jacobs' analysis: we are delivered instead into a state of "inex
tricable
error"
by
the
text's
performance.
But
what
is made
clear
and
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REVIEWS
BOOK
297
declaration, in her closing paragraphs Jacobs turns away from the frame of
that poem to address the reverberations of that notion of figurality for
Sheiley's
"A Defence
political,
interpretive,
of Poetry."
Itmay be the case that "figurai language is no hero" (UR 10), but time
and again Jacobs reveals figurai language to be the agent of undoing or
unbinding, a force thatdestabilizes each and every form of authority?legal,
conventional?that
to
appears
contain
it.
In
"Un
out
carries
restore
if
"perpetual
proper
unpredictable
in a
redemptive
authority
revolution"
or
as
gesture
Utopian
so much
not
that does
it
out
spells
the endless "disruption of temporal and spatial stasis" (UR 57). But figurai
language
a human
is no
hero
try as itmight,
figurai
can
it comfortably
however,
because,
Nor,
subject.
cannot
language
an
"be"
"be"
instrument:
...
embodiment
of metaphor
and
and
literality";
the
play
literalized simile, dug from the depths of her own feeling, forged in the
workshop of language" (UR 114). The scene is exemplary enough for
Jacobs that she conjures it in her preface, describing it there as "the
trick
conjuring
that
creates
substance
from
slip
of
the
tongue,
slip
well
true
be
that
conclusions
as
such
not
this do
the
provoke
same disturbance they once did, and that farfrom appearing as something
"shocking" (UR 189), we have grown accustomed to hearing the lessons
taught by themode of rhetorical reading practiced by Jacobs. But this does
not mean
that we
have
in
succeeded
taking
these
lessons
to heart,
incor
after
it mean
take
from Jacobs
wounding,
such
to
or,
of Penthisilea's
reading
these
ifwe
lessons
conceive
better
yet,
as
to heart?
final
scene
we
Perhaps
on
are
stage, what
learning
would
something
reopening
of
old
wounds.
In
this
light,
spurious
one,
turn which
claims
to heal
only
in order
to
ignore
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the
298
BOOK
wound.
does
History
REVIEWS
in Uncontainable
appear
most
Romanticism,
in
overtly
the book's final chapter on Kleist's "Improbable Veracities." But if the last
of Uncontainable
pages
Romanticism
our
draw
to
attention
time
and
tempo
The
proper.
time
of
to
its relation
and
is, however,
language
of
an
something
or
produces
understood
if not
an
caUed
an
"event"
or
event
these
essays
is, how
us
ask
a text not
to consider
represents
only
what
that
but
performs
is something
best
occurrence.
For Jacobs,
this
can render
of reading
that only
the practice
to the
return
of
the earlier
spatial metaphors
or control
to
the
of meaning
the aegis
by
appeal
as a confrontation
or?to
understand
book?"contain"
the
it is because
event,"
under
of
container
social
context.
One might expect that Telling Time would take up where Uncontainable
Romanticism leaves off, by addressing in detail the problems of time and
history and, in the process, engaging the historicist turn in recent literary
studies. But Jacobs quickly makes it clear that this is not the case, insisting
that Telling Time is not to be read as "a book about time" (TT 3). If it is
not a book about time as such, it is in ways we might expect from her
earlier work a book about the rhetorics of temporality, to invoke the title
of the de Man essay which Jacobs considers at some length. The book is
a
gathering
of
essays
that
the
address
and
fundamental
dis
fundamentaUy
discussions
Lessing,
and
Levi-Strauss,
Benjamin,
which
de Man
in
study
to
or novelist.
as it does
as much
the poet
the ph?osopher
According
an encounter
that
texts share
the temporality
with
of these
each
Jacobs,
an encounter
strains
serves as the condition
that inevitably
of their teUing,
or
the relationship between time and its teUing to the point of "rupture."
Jacobs opens her studywith an uncharacteristicaUy lengthy discussion of
Levi-Strauss's
"
turalism'
Tristes
is haunted
Tropiques:
by
she
there
the very
reveals
temporality
how
that
a "founder
serves
as
of'struc
the
condition
undertaking.
Prompted
by
Levi-Strauss's
startling
and
weirdly
Jacobs
to the
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BOOK
REVIEWS
(TT
35), one
and
past
(TT
object"
that
phe"
29).
than
Ford
Maddox
not
but
and
debris."
Ford
to put
included,
"spatial
tensions
between
gaze
a "catastro
generate
him with
leaving
the
pursues
decomposi
Jacobs
narrator,
overcome,
a certain
that gain
Ford,
readings
discussions
of Levi-Strauss
to her
proximity
record
"particles
tions of knowledge
of
insurmountable
can
Levi-Strauss
more
nothing
These
in which
as a
is "reprojected"
present
299
and
resonance
Lessing.
their
from
In Ford,
is
"talk"
events
or
in order
to lend
a sense
them
of
prepares
the
for:
lesson
of
Laoco?n
reading
is
the
corrosively
the
aesthetic
project
we
to
attribute
of
story
its own
should resonate
Lessing.
seem
to come
reiteration
rather
much
essay
own,
ours"
along
remains
the
cost
them.
of
The
the
authors'
first of
essay on Benjamin's
with
de Man's
the best
stated
(TT
129).
since it was
Jacobs'
in Benjamin
methodological
treatment
has
lost
first published;
on
Lecture
of
are
and
same
the
"dislocation"
that
an
piece
charac
"For
translation
Benjamin,
one we may
call our
we
to be
believe
language
"the monstrosity
she calls
of
of what
none
but
older
Messenger
to the sense
guide
undertakings
is an
chapters
these
of translation:
Benjamin's
understanding
not
an
transform
original
foreign
language
but rather,
renders
that
radically
foreign
translation"
jamin's
"denies
of
photocopied
that
perhaps
terizes
does
at
of
into
in
its power
the
twenty
years
thought.
According
the linear
law of nature
to
Jacobs,
in order
Benjamin's
to
practice
notion
of
translation
the rule
of
textuality"
(TT 130), and thus produces a dislocation of time that, anticipating the
late "Theses on the Philosophy of History," "blasts" the text "out of the
continuum of history." It is in this regard that translation for Benjamin
entails the necessity of a violence to the text, though it is the violence that
reveals
an
originary
breaking.
Few
texts
are
as
crucial
to
the
practice
of
rhetorical reading; and Jacobs spells out themoves thatmake it so. "One
is tempted to read 'translation' as a metaphor for criticism" (TT 138), says
Jacobs, who takes up this temptation if only to read Benjamin closer yet
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BOOK
300
and
"
in
to
the process
her
ironize
REVIEWS
own
declaration
that
demonstrating
by
informs
own
Jacobs'
to
"answer"
The
undertaking.
that
question
comes quickly?"Time
is thatwhich marks the realization of the impos
of
self-definition"
(TT 144)?but the real force of Jacobs' discussion
sib?ity
resides not so much in her analysis of what de Man means by this but in
how he does it. She astutely captures the deceptively unsettling experience
de Man,
reading
lation
that entangle
of
our
undo
and
between
in his work
tensions
the
us
and
assertion
"in
understanding:
vac?
de Man
reading
one iswoven into the texture of the narrative to the point of making his
text and ours into the dramatization of their own confusions" (TT 145).
The book's closing chapters address the "unimaginable touch of time"
inWordsworth
and the "interstices of time" generated by the "endless
of
Rilke's
poetry. Both are superb, particularly the revisiting of
mirroring"
two Wordsworth
tality"?that
should
we
and
Abbey"
poems?"Tintern
to
return
these
shrines,
poetic
this question
at the
premise
Wordsworth.
to
Wordsworth's
notion
in the very
resides
of
heart
the
the
"vanishings"
is made
reading
study
Jacobs'
impulse,
moralizing
of
the
given
particularly
themselves;
poems
Immor
of
"Intimations
"revisiting"
she
and
ask,
impressive
implicit answer to
or
"returning"
from
proceeds
recollection
by
that
its attention
to
engendered
more
by
persuasive
to make
his
tendency
the
this
in
"obstinate
"
into emblems of
questioning" and radical self-vanishing of remembrance
immortal truths" (TT 168). "The voice of moral glory" that is an unmis
takable signature ofWordsworthian
pathos "obscures the disorientations"
disregarding the
brought about by the poems' performances. Without
recovers
the
rhetorical force ofthat poetic voice, Jacobs
"disturbing logic
of the actual phrasing" which is less the vehicle of any "moral glory" than
it is the perpetual undoing of the stab?ity of the present or the past. This
and
prompts the book's only overt engagement with the methodologies
on
Levin
an
footnote
extended
results of theNew Historicism,
Marjorie
son's
influential
study
of
"Tintern
Abbey."
Jacobs'
to this reader,
convincing.
Jacobs
contends
engagement
with
such
is refreshing, important,
that Levinson's
investment
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BOOK
in the
an
of
stability
301
REVIEWS
extratextual
reality
commits
to see Wordsworth's
her
"primary poetic act as the suppression of the social" (TT 236) and thus
prevents Levinson's historicism, despite its "great intelligence," from rec
is an ally in Levinson's own efforts "to refuse
ognizing thatWordsworth
romantic
drifts
transcendence"
as
about
"One
permit:
to
close
could
here
From
237).
(TT
an
as
intervention
.
ponder
. whether
poses
Jacobs
ascetic
Jacobs'
radical
that
question
restraint
will
questioning
political
very
of
seem
would
nature
to
of
are
criticism
such
that overcoming
them
contemporary
an as yet unnamable
even
when
the
intervention,
require
are
as
as
antinomies
those
being
challenged
rigorously
they
are by Jacobs' own work. In this light,Jacobs' stringent refusal to enter the
fray seems the best available strategy, for the powerful austerity of her
critical practice brings those antinomies into bold relief. Indeed, few readers
are rigorous enough to live by, as does Jacobs, the admonition of Kleist's
Emperor
in "The
Duel":
. . .who
is the mortal
"Where
can
the word
read
of God in any such struggle of warring claims to the figure of truth?" (UR
161). One can only attend to the "apparently triflingscratch in the smooth
surface of theword" (UR 162), though such attention is likely to result in
a "general crisis of authority" (UR 165) that infects the pronouncements
of history
as well
as
the
to
claims
understanding.
But the question that finallyhaunts these books is less that of the social
and political contexts thatmight be the objection of historicists than the
perhaps more old-fashioned question of literaryvalue: traces of valuations
are,
of course,
everywhere
in these
legible
books
and
no
degree
that befalls
the predicament
demonstrates
she
of critical
is faced with
deconstructions.
rigorous
that Shelley's
for
"Medusa,"
persuasively
For
instance,
just
disal
as
us
of
of
the value
construed
the
as a mistake
text's
that
deconstructive
could
be
performance.
corrected,
though
This
itmay
of
with
conservative
the
sense
values,
that
one
these
cannot
texts
are
read
her work
themselves
worth
without
reading
coming
because
of the damage they inflictupon our most valued assumptions regarding the
enlightening and redemptive role of culture. Nor is it any accident that in
order to learn these lessons Jacobs would have us read Shelley, Bront?,
Wordsworth, Benjamin, Kleist, and de Man. Though itwould be mislead
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302
BOOK
to say
ing
that
these
authors
REVIEWS
a tradition
constitute
in any
sense
accepted
of
Press,
University
vii+328.
Pp.
iygo?i82y. Oxford:
to be troubled by the
Romantic
strands
of
feminism
should
those
romantic
tangled
set
be
strands
or
ideology
at
they
of British
Romanticism:1
very
a counter-tradition
as
apart
should
roots
the
be
to
as
understood
the
accomplishments
response,
three women
the
tangling
issue
of
writers,
puts
romanticism
own
his
and
dominant
constitutive
Oxford
$49.95.
elements
surveying the
on
twist
even
feminism
the
latter
more.
He
argues that the cultural revolution underway in this period depended upon
"a
certain
to
in order
of'woman'"
figure
secure
notions
of
subjectivity,
woman"
vative
women
woman
in
to
According
avoid
using
could
efforts
"to
otherwise
enunciated
by
to
clout
invite
exploitation
by
nor conser
radical
neither
KeUy,
this newly
available
construction
of
access
to the
and profes
gain
public,
political
. . . unfeminine"
or
considered
unsuitable
(7).
"domestic
woman"
the ubiquitous
such as Mary WoUstonecraft
between
relationship
feminism
cultural
enough
writers.
their
domains
sional
The
carried
of women
a range
and
or
women
the early
Mary
Hays
on
cultural
documents,
primary
and
KeUy's
social
study
historians
aims
to
and
on
extensive
not
"chaUenge"
in
research
just
our
under
standing of the period, but more pointedly, "the history and definition of
women's
writing
1. See
Takes One
SiR,
and
feminism
themselves"
(304).
Yet
34 (Summer
even
and
as he maps
the Paradox
1995)
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