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Confessions of the Fox: A Novel, by Jordy Rosenberg
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Review
“A dazzling tale of queer romance and resistance against the hegemonic forces of eighteenth-century London . . . Delightfully subversive.”—Time “A mind-bending romp through a gender-fluid eighteenth-century London . . . at once very funny and very fierce.—The New York Times (Editors’ Choice)“A cunning metafiction of vulpine versatility . . . Confessions is an action-adventure tale with postmodern flourishes; an academic comedy . . . an intimate meditation on belonging that doubles as a political proof.”—The New Yorker “Confessions of the Fox is so goddamned good. Reading it was like an out-of-body experience. I want to run through the streets screaming about it. It should be in the personal canon of every queer and non-cis person. Read it.”—Carmen Maria Machado“A hat tip to Moby-Dick . . . a running footnote hall of mirrors to rival Borges . . . one of the most trenchant calls for progressive action that I have read in a very long time.”—The New York Times Book Review“An ambitious, thought-provoking novel [that] explores everything from gender identity to mass incarceration, moves between centuries, and even features footnotes. . . . You’ll find yourself immersed, and maybe even changed.”—Entertainment Weekly“Resonant of George Saunders, of Nikolai Gogol, and of nothing that’s ever been written before . . . irreverent, erudite, and not to be missed.”—Booklist (starred review)“Confessions of the Fox is an ambitious debut, and its exploration of this ‘impossible, ghostly archaeology’ will have you looking askance at tidy histories—which feels like just what Jack and Bess would want.”—NPR“Confessions of the Fox is bold for all of the reasons you already know. . . . But what I love best about Confessions of the Fox is its mammoth feeling. It takes a big cauldron of hope to make a book like this, and we need cauldrons of hope right now and always.”—Electric Lit “It’s a rich immensely dirty detailed account of a trans person living in eighteenth-century London. Such a good read, so palpable and fantastic, dizzying and compulsively readable . . . Love!"—Eileen Myles, BuzzFeed “It’s a rollicking yarn with a thread of tender first love, a page-turning tale of eighteenth-century devilry.”—HuffPost “Absurdly fun . . . dazzling.”—Publishers Weekly, “Best Summer Books 2018”“This novel’s marvelous ambition: To show how easily marginalized voices are erased from our histories—and that restoring those voices is a disruptive project of devotion. A singular, daring, and thrilling novel: political, sexy, and cunning as a fox.”—Kirkus Reviews (starred review)“A riotous and transporting novel . . . Jordy Rosenberg is a total original—part scamp, part genius—who has written a rich and rollicking page-turner of a first novel.”—Maggie Nelson, author of The Argonauts“Beauty and violence go together; and what it is to live and practice that entanglement, under the duress of the cops in our streets and in our heads, is what Confessions of the Fox shows with lively, sexy brilliance.”—Fred Moten, author of Black and Blur
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About the Author
Jordy Rosenberg is a transgender writer and scholar. He is an associate professor at the University of Massachusetts Amherst, where he teaches eighteenth-century literature and gender and sexuality studies. He has received fellowships and awards from the Marion and Jasper Whiting Foundation, the Ahmanson Foundation/J. Paul Getty Trust, the UCLA Center for 17th- and 18th-Century Studies, the Society for the Humanities at Cornell University, and the Clarion Foundation’s Science Fiction and Fantasy Writers’ Workshop. He is the author of a scholarly monograph, Critical Enthusiasm: Capital Accumulation and the Transformation of Religious Passion. He lives in New York City and Northampton, Massachusetts. Confessions of the Fox is his first novel.
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Product details
Hardcover: 352 pages
Publisher: One World; First Edition edition (June 26, 2018)
Language: English
ISBN-10: 9780399592270
ISBN-13: 978-0399592270
ASIN: 039959227X
Product Dimensions:
6.3 x 1.1 x 9.5 inches
Shipping Weight: 1.2 pounds (View shipping rates and policies)
Average Customer Review:
3.6 out of 5 stars
38 customer reviews
Amazon Best Sellers Rank:
#90,287 in Books (See Top 100 in Books)
Ever read something that you suspect was over-praised and wonder what all the fuss was about?This book was a chore to get through. I started it with high hopes--a postmodern textual apparatus with allusive false citations and a frame story (and expanding stories within stories in the footnotes!)--purporting to be major reimagination of interesting issues in gender and social discourse. What I found was a self-absorbed text, more in-jokey than genuinely witty, with cardboard characters, unbelievable action, unclear plot and a tone and style not unlike a contemporary pulp novel, albeit with faky "period-specific" Capitalizations plac'd about with Diverse Sundry Apostrophes insert'd. I was unconvinced.Note also that the major preoccupation of the main character, toward which his thoughts tend with irritating and obsessive frequency, is cunnilingus: this is so often, so insistently described with an outright pornographic intensity that I found it a major distraction. As are those post-modern footnotes; how many times do we need to follow the supertext to know that the asterisk is going to be followed only by the words 'penis' or 'pussy?'The frame story, about a modern annotator of the text facing silly and wholly predictable, albeit unbelievable, 'educational reforms' (a Dean of Surveillance whose office is accommodated in a purged campus library, a company called Militia.edu whose employees' cars are more expensive than the narrator's) is described at about the level of situation comedy. It's hard to see what we're supposed to identify with in so facile a construction. The jokes are too broad, too trite, and fail to elicit sympathy.In the end, I found this book easy and trashy: the ambitions of this text, which are considerable and laudable, require a much more weighty and carefully-constructed treatment. A denser text, more richly and believably described and narrated, with characters serving as better than plot devices, would have better served the important issues the book ostensibly discusses. As it stands, this reads like an in-joke for the Academy, and much the praise it's garnered, I suspect, is motivated by critical politics. I wish it were otherwise.
A recently jilted, sad sack gender studies professor discovers an antique manuscript which appears to tell a true, insider’s account of the life of the notorious early 18th century thief and jail breaker Jack Sheppard (a real-life hero of the underclass fictionalized as MacHeath in “The Beggar’s Opera†and later as Mack the Knife in Brecht’s “Threepennyâ€). “Confessions of the Fox†is that manuscript, coupled with the numerous, digressive footnotes provided by the professor.A brief interjection is warranted here (much in the way the endearing Professor Voth frequently interjects through footnotes), to say that at face value this is an outrageously clever and entertaining book. The fact that Jack is reimagined as a trans man (an attribute he shares with Professor Voth), and non-white queers populate this gorgeous narrative is remarkable. Additionally, this is the first work of contemporary mainstream fiction that I can recall by an openly trans author. To my mind that makes it a small miracle.Left alone, historical accounts and classic literature from Chaucer through Dickens and beyond, would have us believe that London has always been exclusively populated by cis white heterosexuals. But it’s always been a very diverse city, and its chroniclers might have noticed had they focused their gaze beyond their white Anglo-Saxon noses.This is a story about rebellion; Jack and his moll Bess (reimagined as a South Asian) contend with the plague and an encroaching police state as they conspire to defeat their oppressors; meanwhile, in the parallel narrative, Professor Voth takes increasingly extreme measures to foil repugnant university administrators and publishers intent on commandeering his work, all while preserving and annotating Jack’s tale.Trans people are born inhabiting the wrong body, and corrective surgery (such as the gruesome procedure Jack undergoes without anesthesia) is a solution. Likewise, corrective surgery on history sets past wrongs right. It is a radical act; painful and difficult but necessary.This is a touching, funny, erotic, magical, empowering book. Rosenberg fires on all cylinders. Appreciators of intriguing, well-told fiction will be rewarded. The closing passage soars with a lyricism and poetry I haven’t encountered outside of Marquez.But more importantly, it’s a gift to trans, intersex, queer, dispossessed folks of every stripe. It fairly shouts “you are here and you always were; you matter and you mattered.â€
Like others have written, this isn't an easy book to describe. It's one of the most brilliant and hilarious satires of higher education since Jane Smiley's Moo. It's one of the best thief/sex worker/London street kids books since Dickens. It's beautifully gender-queer. And then there's the use of footnotes, which can only be described as snort-inducingly fantastic. I sincerely hope Rosenberg makes enough from the royalties to flick spit wads at the VP of Success Innovation and retire from teaching to write many, many more books like this one. Or not. I feel sure he can come up with some other way to dazzle and surprise readers.
I thought this was just up my alley: historical novel; gender fluid but, man, this was way too obtuse for me! Tried to follow, gave up on counterpart footnotes and now am giving up on the whole mess. Have a fragil hold on what the plot was on the historical portion and none on the modern day footnote thread. Too many books to read to suffer through another page.
It’s my deep pleasure to have lived long enough to read a beautifully crafted fictional work that within its narrative depicts so many of my own identities, histories, values, and communities. Those of us who grow up and live with few or no reflections of ourselves in mainstream art and media get used to a kind of invisibility. This work is an emergence. It’s shocking in its tenderness. I want to reach back in time and hand it to my childhood self. An old loop is closed in this healing.
Whose confessions? One person's? A group's? Actual confessions? An assembled convergence? Forget the questions: follow the tale to where it takes you, the reader.
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