This work traces the relationship of individual persons to national economic phenomena associated with consumer finance. The work follows the assemblage of individual consumer credit/debt agents through credit reporting and credit scoring, through to the aggregation of these agents in student loan-backed securitization and credit ratings. The work focuses on the unique technico-cultural constructions produced when human subjects are operatively conjoined to other related discursive and material objects, including related legislation, private corporations, and governmental bodies. The work explores how these unique constructions form stable networks connecting individuals to larger socio-economic settings: networks at once revealing the profoundly distributed nature of both ‘agents’ and their ‘agency,’ and at the same time intimating alternative approaches to questions of individual and collective agency outside the agent/structure dichotomy. The work concludes by addressing the place of this research in consumer finance generally, and the role of consumer finance in contemporary US economics broadly.

In recent years critical projects spanning philosophy, the social sciences, science studies, and nearly everywhere that has employed the term ecology have engaged in thinking humans and non-humans together as collectively producing outcomes, where objects do work beyond how humans perceive or make use of them. Taking Zelda Fitzgerald’s Save Me the Waltz as its focus, this thesis explores how this reorientation might contribute to literary studies and to literary criticism more specifically. The thesis considers a notion that novels constitute objects with biographies running “against” the biographic material of their authors, mobilizes actor network theory as a manner of mapping that biographic assemblage, and tentatively develops a biographic network approach as one alternative to traditional literary interpretative practices. Attending to the novel as an actor shifts critical focus away from its interior – the “text” or content – and expands traditional literary criticism’s default practice – interpretation – and logic – mimetic representation – in hopes of facilitating a discussion of Zelda’s novel in a manner which destabilizes the overdetermined themes that continue to scaffold her imaginary. Ultimately, this work argues that a biographic network approach can prove instructive as a “method” for dealing with other texts which remain relatively obscured at the margins of literary consciousness.