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DANIEL T. LOCHMAN, Edmund Spenser’s The Faerie Queene


                serves that Spenser breaks up causal sequencing with techniques of
                “digression and deferral, repetition and recursivity.” She adds that
                these allowed Spenser to introduce big ideas about the individual soul,
                national identity, private and political ethics, and relationships be-
                tween lived and transcendent worlds, but they did so at the cost of a
                                                     9
                readily accessible narrative sequence. Gregerson observes kinds of
                narrative control that Spenser recuperates despite the disruptions: he
                is able to “alter the pacing of the narrative, to waylay action for the
                duration of a stanza or a canto, to interpolate a parallel vista or point
                of view, [and through prosodic techniques] to puncture time or slow
                         10
                it down.” Gregerson’s analysis of the literary effects of such narrative
                recuperations, from a formalist’s perspective, parallel what I will en-
                gage from a cognitive consideration of textual memory — namely, the
                collective coherence-generating elements within a literary artifact that,
                despite frequent disruptions within the surface narrative, allow read-
                ers to a ribute meaning by carrying in mind, consciously or subcon-
                sciously, what has preceded a present literary action or description
                and by extending it forward as affordances for future actions.
                     In an ongoing way, a reader fills gaps in a narrative and recon-
                stitutes it in a cognitive, autobiographical experience. The text is an
                artifact that prompts cognition, the mental and bodily operations that,
                as philosopher Michael Wheeler has observed in reference to cognition
                generally, is able to be distributed — to “spread out over the brain,
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                the non-neural body, and [their] environments.” Distributed to the
                brain, body, and world, a narrative generates experience that is pecu-
                liarly recursive, available for the ongoing change, revision, and refine-
                ment that results from a reader’s memorial reexaminations or recon-
                sideration of similar episodes and the anticipation of future events.





                9  Linda Gregerson, “The Faerie Queene (1590),” The Oxford Handbook of Edmund
                Spenser, ed. Richard A. McCabe (Oxford University Press, 2010), 198-217.
                10  Ibid., 213.
                11  Michael Wheeler, “Distributed Cognition in the Analytic and Continental
                Traditions,” A History of Distributed Cognition, University of Edinburgh (2014):
                h p://www.hdc.ed.ac.uk/seminars/distributed-cognition-analytic-and-conti-
                nental-traditions.


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