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• W228761605 abstract "Monstre sacre of the contemporary French literary scene, Belgian-born novelist Amelie Nothcomb is known for trafficking in shock in her public life and fiction. As Beth Gale writes in an unpublished essay, Nothcomb has earned notoriety for a galaxy of quirks: rotten fruit, chocolate, anorexia, farfetched hats, striking use of cosmetics (The Monster Within: Evil and Personal Identity in Novels by Amelie Nothcomb, 2010, p. 1). Of her half-dozen novels, none is more provocative than Sulphuric Acid (2005), the story of a fictional reality show modeled on World War II German death camps. Spare in its visual detail, imprecise in its temporal setting, the novel charts the spectacular ratings success of Concentration, a sado-voyeuristic program covering the starvation, beatings, degradation, torture, and arbitrary execution of a rotating cast of ordinary Parisians, randomly rounded up and imprisoned in a camp where they are stripped of their names, guarded by kapos, and treated no differently from the inmates at Dachau. As a novelistic excursus on the desensitizing effects of televised violence, Nothcomb's book covers well-trodden ground. Media critics have long remarked on vicarious experiences of video violence, their eliciting horror at the offense, outrage at the perpetrator, sympathy for the victim while still inhibiting impulses to act on those feelings. Seen from a safe remove, video brutality promotes disengagement and irresponsibility: a self-encapsulated experience of emotional narcissism that comes from feeling sorry for those whose suffering the viewer is unable to mitigate. As Jerzy Kosinski writes in A Nation of Videots: filming a brutal physical struggle from a variety of viewpoints [...] cameras transform [...] a human conflict into an aesthetic happening, distancing the audience and allowing them an alternative to moral judgment and involvement (in Television: The Critical View, Horace Newcomb, ed. [Oxford: Oxford UP, 1979]: 342). By consigning camp internees to a state of dehumanized anonymity, fostering dissociation, and suppressing viewer identification and guilt, Sulphuric Acid reconstructs the same relationship between its readers and the viewers of Concentration. The bloodthirsty prurience of entertainment-hungry masses detached from the nameless people whose torments they observe seems to become inferentially an attribute of Nothcomb's own audience. Complicitous in providing a market for the evils they deplore, readers of Sulphuric Acid, like viewers of Concentration, risk incurring the blame assigned to bystanders who witness an atrocity without intervening. However, Nothcomb offers an antidote to the toxic parasocial bond between fiction consumers and reality-based victims, as she describes an intricate, subtly evolving relationship between a kapo and an internee. Disabled by self-loathing, oblivious to the possibility of intimacy and tenderness, Kapo Zdena is roused from her routine of mechanical assault and verbal abuse when she succumbs to an attraction to the charismatic prisoner Pannonique. Nothcomb's keenest insights come in her language's reflection on the superfluity of language, the onomastic magic of personal identity disclosure. To know the loved one's name means metonymically to possess her. To speak a word means to honor the referent with tribute paid by human intelligence, making each expressive act into a work of art. …" @default.
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• W228761605 date "2011-03-01" @default.
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• W228761605 title "Literature Quickens Television's Dead; Amelie Nothcomb's Sulphuric Acid" @default.
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