Chapter 2 explores the 1814 collaboration between Mary and Percy Bysshe Shelley and extends scholarly attention to their travel journals, before discussing Frankenstein. Using the couple’s shared journal as a way of marking their convergence and redefinition of themselves from a singular identity to a shared pluralism, the journal’s entries witness a shared understanding – a sympathetic concord – between the couple. This close examination of the collaborative process indicates a willingness to assimilate and accommodate the other’s sentiments and formal constructs. While the narratives of these entries show the completion of each other’s thoughts and a reliance upon readerly circulation, the entries’ form also gestures to their defined plural identity through a vocal blending. With its sustained focus on the sympathetic communities developed by the couple and increased literary production as a result of this lived communal experience, I suggest that the Shelley collaboration ultimately shapes the narrative form of Frankenstein. The novel’s layered narrative of sympathetic texts makes possible a view of the collaborative compilation of the novel as a means of social reform: a view of society that relies upon the affective bonds of sympathy with a community of people, whether imaginative or genuine.

In “Dislocating the Reader,” I use psychoanalytic theory to think about how the language of Toni Morrison’s Beloved works on readers. Placing the text of Beloved into dialogue with Jean Laplanche’s theory of the belated time of trauma enables me to think through the ethical and emotional effects of Beloved’s delayed narrative structure on readers. Visual images from the past lives of the characters intrude into the narrative, without explanation; in confusing the reader, these intrusions convey the distortions of time, thought, and memory that disturb these survivors of slavery’s traumas. The chapter centers on the main character, Sethe. I read the mothering practices of Sethe and of her own slave mother through the lens of historical research on actual slave mothers, who were torn between the demands of the master for their labor and the needs of their babies for their time. Throughout, the chapter attends to the difficulties of writing Beloved, as Morrison herself explained them in interviews: to capture the psychic damages inflicted by slavery on her ex-slave characters Morrison had to invent a new narrative language.

This essay reviews the intricacies of the Iliad’s and the Odyssey’s narrative structures.