![]() ![]() ![]() ![]() Authors and critics have expressed their concern about the future of the literary novel. Through language and grammar, the to and fro of sound and silence as Hélène Cixous thinks of it, and in a digressive and circumambulatory manner, this paper probes ‘what to look at’ and ‘how to think’.ĭuring the last decade, the question of the end of the novel has been given new urgency. It begins with the tongue and a drawing of a mother in ICU as referenced in the novel-cum-memoir Bite Your Tongue and ends with photographs of a father's body the day before he dies, which forms part of a ‘mer-mer’ or memoir-in-progress. ‘Parsing an Ethics of Seeing’ posits and presents possible approaches where the form of writing is in keeping with subject matter, in this case, an interrogation of absence and presence as poetic response in concert with what Roland Barthes calls ‘that-has-been’. ![]() In particular, it examines a way of expressing this thinking in terms of grammar and method (syntax, vocabulary, drawing, inventory, cartography), and how the structure or genre of the work emerges from, or out of the act of writing, both critically and creatively. This paper considers the nexus between creative and critical thinking in the making of original work as it relates to what Susan Sontag calls ‘an ethics of seeing’. ![]()
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