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Theorists of queer temporality have been exploring the political affordances of finding oneself outside of conventional linear (re)productive time, and the ways in which this subject position might orient one toward suspension, looking backward, or a utopian futurity.1 This work stresses the subjective experience of temporal duration, in which time Talia can feel suspended, slowed, frozen, simultaneous. [...]the Religious Tract Society produced stories featuring someone unlike the reader, not to encourage identification, feel community, or develop sympathy, but rather in order to "foreground . . . reading as re-experience" (226). Maurer accurately points out that this work problematizes Benedict Anderson's imagined community, because evangelical readers were exhorted to stop reading newspapers lest they diffuse their moral attention in imagined far-off situations instead of focusing on their own souls. "Style conceived under the sign of rhetoric, in which writing was understood to be merely an alternate species of orality" contrasts with the idea that "the author of style [w]as a kind of mystery, a veiled figure, who had to be traced and reconstructed through signs and symptoms embedded in the technical features of the prose" (242). [...]Harris teaches us to read Conrad not as an initiator of a new proto-modernist style but rather as "the culmination . . . of a decades-long process in which the energies and investments that had vitalized the rhetorical author were being redirected into a new dispensation