Immediacy style achieves flat ontology by collapsing the novel’s immanence-empirical dissonance

Evidence

An acid-brilliant flat ontology, a virtually endless and utterly homogeneous stream that Fredric Jameson calls “itemization,” Liesl Olson calls “the celestial everyday,” and Ben Lerner calls “just one thing after another,” the demediated accumulations here “fight fiction” precisely by revoking the premise Georg Lukács had identified as “the dissonance special to the novel, the refusal of the immanence of being to enter into empirical life.” Particulars, sausages, voice—that’s immanence beaming from the empirical, a dazzling and dazing successional liturgy of obdurate concretudes, greasy crescents, shimmering single entendres intransitively evident. That’s immediacy as literary style. — Anna Kornbluh, Immediacy, or The Style of Too Late…, 113

Categorization

• XREF: Names Fredric Jameson and Georg Lukács explicitly — crucial evidence for the reader’s task of judging Kornbluh’s structural debt to Jameson. — connects to: Immediacy rules out both continuity and discontinuity as modes of knowing
• QUESTION: Kornbluh quotes Lukács on the ‘dissonance special to the novel’ here, but the adversary she argues against is Jameson — worth chasing who exactly she inherits this framework from.
• DEEPTHINKING: The whole move — that immediacy annuls the constitutive dissonance of the novel form — is dense and paradigm-shifting for genre theory.