Jack Dudley is Associate Professor of English at Mount St. Mary’s University in Maryland. He is completing a book on the contemporary novel and religion.
Jack Dudley
Contributions
Counterfaiths: Religious Visual Culture and Jean Rhys’s Wide Sargasso Sea
“Well, I’m going to tell you something I’ve never told anyone else,” Jean Rhys, shortly before her death in 1979, said to David Plante, as he relates it in Difficult Women (1983). Rhys cautioned that the story would sound familiar; however, she had told him “part of it, but not all” (Plante, Difficult Women, 47). The familiar part involved Rhys and her husband, Max, at their cottage in Devon, the stress of that time in her life, and how she, by that point, “quite gave up” on working on Wide Sargasso Sea, the Caribbean text that would mark her celebrated return to the literary scene in 1966, decades after her European, metropolitan novels of the thirties (48).
Toomer, Marshall, and the Il/Legibility of Black Pain
Contemporary archival (The National Memorial for Peace and Justice), medical (Janice Sabin, “How we fail black patients in pain”), and political (BLM) practices continue to depend on the legibility of Black pain, where pain’s visibility is assumed to make it politically transformative. Rather than an obviously valuable experience, however, Black pain requires political validation by an American whiteness all too often unable or unwilling to recognize or respond to that pain. Miranda Fricker’s “testimonial injustice” describes this ethical failing, which “occurs when prejudice causes a hearer to give a deflated level of credibility to a speaker's word,” producing an “epistemic dysfunction in the exchange.”