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- ISSN: 2043-0701
- E-ISSN: 2043-071X
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Pandemics as the great levellers? Class, community and capital in US-American short stories
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By
Carmen Birkle1
- Source: Short Fiction in Theory & Practice, Volume 12, Issue The Health of the Short Story: Part 2, Oct 2022, p. 141 - 153
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- 09 Jul 2021
- 29 Dec 2021
- 01 Oct 2022
Abstract
This article focuses on literature’s potential for healing – both medical and sociopolitical – in times of severe crisis such as the COVID-19 pandemic. Affect is an important literary tool to make people aware of social inequalities, in particular reading or writing short stories with the experience of a simultaneous real-life pandemic. Reading is an embodied act through which the reader enters into a dialogue with both the author and the text. Emotions emerge that are often more deeply stored in memory than the words as such, and that changes our perception of the world. This effect is also encapsulated in Siri Hustvedt’s analysis of reading practices, Sara Ahmed’s affect theory and Rita Felski’s four ways of engaging with texts. I analyse John O’Hara’s short story ‘The Doctor’s Son’ (1935), situated in rural Pennsylvania at the time of the 1918 Influenza, and Victor LaValle’s ‘Recognition’ (2020), resonating with the COVID-19 pandemic in an isolated apartment building in New York City. Both stories question the concept of pandemics as the great levellers by pointing out social injustice due to class and ethnic hierarchies. Taking Edgar Allan Poe’s ‘The Masque of the Red Death’ (1842) and Poe’s emphasis on the preconceived and single effect of fear and subsequent horror caused by the ‘Red/Black Death’, as a starting point, the article presents O’Hara’s story as a manifestation of the medical, social and ethnic phenomena at work in 1918: social distancing, facial masks, closed public institutions, people’s resistance to these measures and medical treatment along ethnic and class lines. LaValle’s ‘Recognition’ allows readers a glimpse into the relationship between an unnamed African American woman, who is also the narrator, and Pilar, a Colombian American woman, who dies of the virus. As part of a contemporary Decameron project, ‘Recognition’ stresses the human need for community, communication and, thus mutual human recognition, giving the dead – whether rich or poor – a name and demanding to undo systemic social inequalities. In that sense, literature can heal the nation.
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