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• W319187008 abstract "In review essay published in the 24 December 1984 issue of New Republic, Ann Hulbert hailed the renewed attention to domesticity in American fiction, but her tone betrays fear that the revival was tenuously trendy: The family is, she wrote in fashion. implication seemed to be that, since vogues are ephemeral, this new domesticity could be abandoned as quickly as it was taken up. Hulbert went on to quote E. L. Doctorow, who had, in his blurb for Jayne Anne Phillips's Machine Dreams, written that carefully rendered family life was the regnant virtue of the American novel. Given the fluctuations of literary opinion, any regnant virtue finds itself in constant danger of overthrow; its reign is precarious. But the emphasis on family was neither new nor fragilely fashionable; family has always been one of the most important themes of American fiction. What returned to fashion in 1984 was not the family, but The Family. Reaganite conservatism had ushered back into prominence as political catchword, and evangelists had adopted the (presumed) disintegration of traditional family values as rallying cry. word was everywhere. But because of home life's centrality to the American literary tradition, its presence as theme in the four works Hulbert chose as examples--Robb Forman Dew's Time of Her Life, Jayne Anne Phillips's Machine Dreams, David Leavitt's Family Dancing, and Josephine Humphreys's Dreams of Sleep--cannot by itself explain the stylistic and tonal similarities between the books. Hulbert anticipates this objection and makes an attempt to rebut it: Of course the bourgeois institution of the family has long occupied an important place in the bourgeois genre of the novel. But it has generally been place of departure, or else place of arrival, and rarely the central subject of painstaking, patient observation. In other words, Hulbert argues, though family had long been significant theme of the American novel, it had rarely if ever been the whole substance of it; the (ostensibly) petty crises of family life had not been examined and chronicled almost without embellishment as they were in the books on Hulbert's reviewing-desk. Family had been treated abstractly (Hulbert argues) by writers who left out, for the most part, the mundane details. But this abstraction was as much attributable to the state of family life itself as to the preferences of novelists: the nineteenth-century aristocratic family memorialized in sagas and Bildungsromane was quite different species from the late-twentieth-century institution of the nuclear family. In the contemporary family, servants rarely act as intermediaries, tutors, confidantes, sidekicks; rhetoric about Honor and Duty plays almost no role. Instead of abstraction, the family of the '80s domestic novel offers noisy helter-skelter of detail: the roast is smoking and where's the oven mitt is your sister chewing on it again and the beans need snapping don't make me ask you again and where is your father and clean up that pigsty it looks like hurricane came through here, right now, right now or I won't write your book report do you hear me young man? Formality and intricate protocol have been supplanted by freewheeling intimacy. It is hard to imagine an analog in the nineteenth-century novel to the Icee-stained little girl who, in brief cease-fire from backseat bickering with her brother, asks, Daddy, are we there yet? texture and substance of family life have changed dramatically. Because its bonds are more concrete and immediate, because it demands what Leslie Farber has called close and passionate daily traffic in perishables--because it does not depend as heavily on abstraction-the nuclear family is more susceptible than its predecessor to the kind of painstaking observation Hulbert describes. Hulbert calls the new domestic realism a modest fictional terrain, but she seems to consider this modesty virtue. …" @default.
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• W319187008 date "1993-09-22" @default.
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• W319187008 title "«A deal for the real world»: Josephine Humphreys's Dreams of Sleep and the new domestic novel" @default.
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