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In her latest novel, Textermination, the eminent British novelist/critic Christine Brooke-Rose pulls a wide array of characters out of the great works of literature and drops them into the middle of the San Francisco Hilton. Emma Bovary, Emma Woodhouse, Captain Ahab, Odysseus, Huck Finn... all are gathered for the Annual Convention of Prayer for Being, to meet, to discuss, to pray for their continued existence in the mind of the modern reader. But what begins as a grand enterprise erupts into total pandemonium: with characters from different times, places, and genres all battling for respect and asserting their own hard-won fame and reputations. Dealing with such topical literary issues as deconstruction, multiculturalism, and the Salman Rushdie affair, this wild and humorous satire pokes fun at the academy and ultimately brings into question the value of determining a literary canon at all.
History and literature seem to be losing ground in the contemporary world of electronic media, and battle lines have been drawn between the humanities and technology, the first world and the third, women and men. Narrator Mira Enketei erases these boundaries in a punning monologue that blends the contemporary with the historical, and in which she sees herself as Cassandra, condemned by Apollo to prophesy but never to be believed, enslaved by Agamemnon after the fall of Troy. Here, Brooke-Rose amalgamates ancient literature and modern anxieties to produce a powerful novel about our future.
She is eighty. Facing death, she considers her experiments with narrative, and with the narrative of her life. What is the purpose of the narrative she is creating here, and what the purpose of the life that lives it in the writing? At the centre of Life, End of, in a mock-technical lecture from the Character to the Author, she comes to accept that her experiments in narrative are like life: the narrative creates itself. Christine Brooke-Rose's last novel is a darkly comic exploration of the meanings and non-meanings to which, in the end, life and art lead us.
The novelist and critic Christine Brooke-Rose investigates those difficult border zones between the 'invented' and the 'real' in fiction.
This 1981 book is a study of wide range of fiction, from short stories to tales of horror, from fairy-tales and romances to science fiction, to which the rather loose term 'fantastic' has been applied. Cutting across this wide field, Professor Brooke-Rose examines in a clear and precise way the essential differences between these types of narrative against the background of realistic fiction. In doing so, she employs many of the methods of modern literary theory from Russian formalism to structuralism, while at the same time bringing to these approaches a sharp critical intuition and sound common sense of her own. The range of texts considered is broad: from Poe and James to Tolkien; from Flann O'Brien to the American postmodernism. This book should prove a source of stimulation to all teachers and students of modern literary theory and genre, as well as those interested in 'fantastic' literature.
Setting her work firmly in the context of English and French writing as well as literary and feminist theory, Sarah Birch examines the full range of Brooke-Rose's fiction: the early realist novels published between 1957-1961; the strongly anti-realist period beginning with Out (1964), when Brooke-Rose's work was seen to be heavily influenced by French experimental fiction; and the third phase of her development which began with Xorandor (1986) and which marks a questioning return to the traditional techniques of the novel.
This book utilizes archive research, interviews and historical analysis to present a comprehensive overview of the works of Christine Brooke-Rose. A writer well-known for her idiosyncratic and experimental approaches to the novel form; this work traces her development from her early years as a social satirist, through her space-aged experimentalism in the 1960s, to her later poststructuralism and interest in digital computing and genetics. The book gives an overview of her writing and intellectual career with new archival research that places Brooke-Rose’s work in the context of the historically important events in which she was a participant: Bletchley Park codebreaking in the Second World War, the events in Paris during May 1968, the dawning of the internet and the rise of poststructuralism. Joseph Darlington begins with Brooke-Rose’s first novels written in the late 1950s of social satire, studies her experimental phase of writing and finally illuminates her unique approach to autobiography, arguing for reevaluating this interdisciplinary author and her contribution to poststructuralism, life writing and post-war literature.