The Politics of Transparency in Modern American Fiction

Explores modern and contemporary American literature's contribution to and critique of the newly emerging field of transparency studies.

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Explores modern and contemporary American literature's contribution to and critique of the newly emerging field of transparency studies

In the twenty-first century, transparency has become an ambiguous buzzword both in the public and the private realms (e.g., Wikileaks and the Snowden affair; social media). This volume takes its cue from the emerging field of transparency studies, recent scholarly work in sociology, political theory, and cultural studies that identifies a hegemonic rhetoric of transparency in public and political life. While scholars in this new field routinely gesture toward literature as the realm where secrecy may be productive, they rarely engage with literature directly, and literary studies itself remains notably absent from their debates. This collection of essays seeks to redress that state of affairs by focusing on literary texts written in an American cultural tradition steeped in the interplay between transparency and exposure, fear and secrecy, security and surveillance, and information and disinformation.
The essays draw on authors ranging from Whitman, James, and Ellison to Pynchon, Morrison, and Eggers to argue that American literature complicates theoretical assumptions about transparency made in other disciplines. They question the field's strong theoretical emphasis on present-day technopolitical practices and discourses as the location of hegemonic discourse on transparency, and instead historicize such phenomena and extend them to discursive spheres that have so far been neglected (such as issues of sexuality and race).

Edited by Paula Martín-Salván and Sascha Pöhlmann. Contributors: Tomasz Basiuk, Jesús Blanco Hidalga, Cristina Chevereșan, Julia Faisst, Michel Feith, Julián Jiménez Heffernan, Tiina Käkelä, Juan L. Pérez-de-Luque, Umberto Rossi, Jelena Šesnić, Toon Staes, Julia Straub, Alice Sundman.