In a recent paper, James Edwin Mahon argues that literary artworks—novels in particular—never lie because they do not assert. In this discussion note, I reject Mahon’s conclusion that novels never lie. I argue that a central premiss in his argument—that novels do not contain assertions—is false. Mahon’s account underdetermines the content of literary works; novels have rich layers of content and can contain what I call ‘profound’ assertions, and ‘background’ assertions. I submit that Mahon therefore fails to establish that novels (...) never lie. (shrink)

In this article, I shall argue that being a lie disqualifies something from being a literary work. If something is a lie then it is not a literary work of any kind, and if something is a literary work of any kind then it is not a lie. Being a literary work, and being a lie, are mutually exclusive categories.

Feminist utopian novels reconstruct citizenship by interrogating ideological assumptions at the root of civil rights theory, particularly its reliance on the sexual contract and the family romance narrative. While many feminist citizenships still depend on such assumptions, utopian fictions deconstruct the logic of natural rights and replace traditional governments and nation-states with social structures based on community and global-ecological awareness. They thereby underscore the importance of narrative for feminist philosophy and political theory.