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The Ideas, Identity and Art of Daniel Spoerri: Contingencies and Encounters of an ‘Artistic Animator’ by Leda Cempellin (review)

202 a broader debate about how we communicate (by words, texts, images, face-to-face encounters) and about literature’s putative or possible instrumentality. Emre concludes with a provocative rejoinder and challenge to both “weak theory” and what Jeffrey Williams deemed “the new modesty in literary criticism.” Along the way, Paraliterary attempts to strike a delicate balance between readings of traditional literary texts and historical accounts of sociologies of reading. It almost always succeeds on this count; its paratactic structures are welcome and illuminating, and Emre is conscious of the difficulty in positing “microand macrosociological” claims at once, as she does (179). At specific moments, her narrative thread gets buried under her own ample and rich evidence: one wishes for more narrative, less description at a few points, so that the scale of claims and evidence are better aligned. But a small price to pay for the admirably far-reaching work this book executes marvelously. Emre’s prose is elegant and convincing, and this book will be required reading for scholars of the postwar world’s overlapping, incomplete, and understudied interpretive communities.