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• W2964796695 abstract "What West?Worlding the Western in Hernan Diaz's In the Distance Neil Campbell (bio) Hernan Diaz's In the Distance (2017) opens: The hole, a broken star on the ice, was the only interruption on the white plain merging into the white sky. No wind, no life, no sound (Diaz 3). From this I begin an argument about western American literature or, more accurately, the literature of westness, a distinction reminding us how much good writing about the West comes from its outside. Diaz, for example, was born in Argentina, grew up in Sweden, educated in England, and is now an American citizen. It begins with a hole, an absence where something once was. It is a hole shaped like a broken star cracked out of the ice, in what we will soon discover is Alaska. It is an absence and a brokenness whose significance emerges throughout this essay. Pointedly, this is an interruption of something, of a landscape, certainly, but something more than a landscape, too, a whole mythology of manifest destiny. The landscape is of plains and sky, a seamless whiteness like the endless vistas of the classical Western desert, and yet, here, it is whiteness interrupted by a small, local event, a broken star, a hole in the silent space, perhaps a hole in myth itself. This is also an opening of what I define as an interruptive Western, a postwestern and postexceptionalist novel that reverses, breaks, stretches, and questions our expectations of the genre while still holding on to its elements, inhabiting the form both sur-really and provocatively. The novel also interrupts because, as Diaz has said, he wanted to translate different genres into each other (Bady); hence the adventure story, bildungsroman, captivity narrative, nature tale, Western, and science fiction (especially in its stark desert scenes) blend and overlap into In the Distance's disorientating [End Page 103] hybridity. It begins, noticeably, west of the West, in Alaska, the New World's 'new world' (Kollin, Nature's 29), as a head emerged from the ice, a local force from below, born into this seamless white world with its interlinked connotations of race and unending possibility. And yet it is an even, horizonless expanse (Diaz 3, emphasis added), as if already countering the expected landscape of westering whose horizon is a measure of quest and opportunity. As readers we are simultaneously born into a world of difference and surreality as Diaz disturbs our expectations of what a Western is and does, as they are hijacked and repurposed (Bady), deliberately playing with and interrupting tropes, assumptions, and frames of reference. Ultimately, he interrupts the very politics of the Western, for as Diaz has commented, So I saw in the Western a slightly derelict genre that was ready to be taken over. And because of its ideological connotations, it seemed like hijacking the Western was a perfect way to say something new about the United States and its history. I wanted to write a book that relies on the Western tradition but ultimately subverts it. (Pinckney) Initially, this icy emergence echoes Native American creation stories, and yet this possibility is immediately interrupted as the rising figure is a naked, colossal white man, like an old, strong Christ (Diaz 4), a mariner caught up in global trading routes from San Francisco to the Sandwich Islands, China, and Japan. The subject of fascination, the legendary Håkan Söderström, or Hawk, we discover, was born in Sweden and has travelled across the world and America becoming a vessel of others' tales multiplied (8), embodying an elaborate myth of his past adventures as killer, Indian chief, hunter, and leader. When challenged as lies by one man on the ship, whose hand hovered over his holster (9), Håkan, rather than conform to the genre's gunfighter trope, simply bangs two half logs together like a Titan, scaring the man to the ground like a cowering beast. Diaz has spoken of the Western as stubbornly provincial and parochial … proud of its regionalism, leading to its marginalization as an American genre, failing to fulfill its promise or its potential [End Page 104] (Bady). In the Distance, however, repurposes the Western, unleashing..." @default.
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• W2964796695 date "2019-01-01" @default.
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• W2964796695 title "What West? Worlding the Western in Hernan Diaz's In the Distance" @default.
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