The world novel, mediated wars and exorbitant witnessing

This essay traces the emergence of a new contemporary novel form at the conjunction of global violence in the wake of the Cold War, digital hyperconnectivity, and a mediated infrastructure of sympathy. Since the first Gulf War, and more so, in the rhetoric presaging the wars in Iraq and Afghanistan, we have come to accept that there is very little difference between the technologies used to wage war and those used to view it. This essay argues that the novels of our time are not contiguous with contemporary cinematic or televisual or new media genres in representing the immediacy of violence, but are rather texts that graph the sedimented and recursive history of such mediation. Their alternative way of documenting “witness”-that is, of abstracting the architectonics of testimonial work-urges us to focus not so much on the question of visibility-and its stock thematics of overexposure and desensitization-as on the legibility of this new mode of witnessing. The distinction between visibility and legibility amounts to calibrating differently the work of witnessing in novels, their textual and tropological play with multiple modes of spectatorship and engagement, and their distinctively different braiding of the factual and the evidentiary in comparison with genres of the visual.