How to cite: Rivera-Izquierdo, Ángela. “Surveillance and (In-)Visibility: Reading Jenni Fagan’s The Panopticon through an Ethics of Attention”. In The Ethics of Attention in Contemporary Anglophone Fiction. Eds. Ganteau, Jean-Michel and Susana Onega. Londres: Routledge. Surveillance and (In-)Visibility: Reading Jenni Fagan’s The Panopticon through an Ethics of Attention Ángela Rivera-Izquierdo Introduction Born in 1977, Jenni Fagan is an award-winning Scottish novelist, poet, screenwriter and artist. So far, she has published four novels: The Panopticon (2012), The Sunlight Pilgrims (2016), The Luckenbooth (2021) and Hex (2022). This chapter looks at her debut novel, The Panopticon, which won ample critical acclaim and established her as one of Scotland’s most talented young writers. The novel follows the life of Anais Hendricks, an unruly fifteen-year-old orphaned girl immersed in the Scottish care system. Anais has been transferred to a facility, the eponymous Panopticon, after allegedly assaulting a policewoman and putting her into a coma. There, she must await a court hearing that will decide her fate. Narrated in the first person, it is a voice-driven novel, mostly in interior monologue, splashed with Edinburgh vernacular and written in a “filthy, idiomatic” English known as “Caledonian Grunge” that prompts readers to perceive the narrative as “gritty” or “authentic” (Shone 2013). The Panopticon has also been described as an example of contemporary Scottish gothic, as it makes use of tropes associated with the conception of Scotland as a fractured state, such as doubleness and the disruption of past and present or of reality and fantasy (McCulloch 2015). The narrative, in the present tense and markedly unreliable, follows a chronological order, although it is interspersed with flashbacks and confusing episodes resulting from Anais’s apparent amnesia or fractured