Dennis A. Foster

What is the precise relationship between the writer of a text and the reader? Contributions to reader-response theory have suggested that the reader is relatively passive. In this 1987 text, Professor Foster argues that the relationship is more complex than that: readers enter into complicity with writers and create the illusion of the writer's mastery over meaning in order to imagine themselves as masters and become writers in their own place. This dynamic model of the reading process is revealed most tellingly in 'confessional' narratives and so Professor Foster explores the complex patterns of the reader/writer symbiosis in texts by Augustine, Kierkegaard, Henry James, Hawthorne, Faulkner, and Beckett. What emerges is a fresh theory of reading literature: the engagement between writer and reader as a struggle for power in which the reader is actively complicit and self-conscious in his or her interpretations.

Linking classic American literature to contemporary popular culture, Sublime Enjoyment argues that the rational systems of normal social life are motivated and sustained by ‘perverse’ desires. This perversity arises from the failure of symbolic satisfactions - love, work, success - to make us happy, and from our refusal to accept that failure. Hoping to achieve satisfaction, we respond ultimately to situations that evoke older, more primary drives and their attendant emotions. But while a conventional pervert knows exactly what to want, the healthy pervert must find enjoyment inadvertently: in the object of the sublime, in duty and reason, and in the obligations of a ‘fun morality’. Examining the ways in which this inadvertence is represented in American literature and culture, Dennis Foster identifies ways in which longings are linked to social forces.

What is the precise relationship between the writer of a text and the reader? Recent contributions to reader-response theory have suggested that the reader is relatively passive. Professor Foster argues that the relationship is more complex than that: readers enter into complicity with writers and create the illusion of the writer’s mastery over meaning in order to imagine themselves as masters and become writers in their own place. This dynamic model of the reading process is revealed most tellingly in ‘confessional’ narratives and so Professor Foster explores the complex patterns of the reader/writer symbiosis in texts by Augustine, Kierkegaard, Henry James, Hawthorne, Faulkner, and Beckett. What emerges is a new theory of reading literature: the engagement between writer and reader as a struggle for power in which the reader is actively complicit and self-conscious in his or her interpretations.