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Henry James and the Language of Experience (review)

not speak in the same manner as those around her. Here, the aural/oral completely gives way to a scopic economy that we are led to believe at the book's beginning is entirely unavailable to blackness or its characterization. Nevertheless, Faulkner scholars will be intrigued by McKee's pairing of Habermas's dynamic public sphere with Faulkner's static "public figures" who articulate positions on local events rather than interpret them. What becomes "political" in Light in August is not the discussion of varying viewpoints, but rather the variation of media and images available to the white men who constitute a collective by virtue of their presence in a group—on a street corner, in a barn or on the road. McKee offers a very provocative reading of space, place, and absence in Morrison's Sula, but more could have been done to integrate the discussion of visual culture that is a focus in the rest of Producing American Races. Attention to what is missing encompasses not only history, but memory as well, and what McKee finds in both Sula and Jazz is a visual culture that perpetuates its interactiveness by insisting that difference and likeness be remarked upon. She argues that this method of "call and response" in Morrison sets her work on subjects in visual culture apart from that of James and Faulkner. Even as Morrison departs from and therefore complicates notions of the visual, it is difficult to not reify our own notions of "race" as we interrogate what appear to be an author's racialized investments in character. Some attention to this problem of interpretation would have made for even richer readings of the authors selected for this study.