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The British novelist and critic Christine Brooke-Rose (born 1923) is increasingly being regarded as one of the most significant writers of the contemporary period. In her dozen novels she has explored themes as diverse as biligualism (as a metaphor for alienation) and the influence of computer technology on the humanities. As these themes suggest, Brooke-Rose is sometimes perceived as a difficult writer, especially given the dazzling virtuosity of the linguistic wordplay that enlivens her later novels. "Utterly Other Discourse" (a phrase from her 1984 novel "Amalgamemnon") provides a valuable introduction to her work; in fifteen essays--some previously published, some written for this book--scholars from America, England, and Europe examine her work from a variety of critical angles.
This volume abstracts a model of metaleptic subject construction that has significant implications for narrative theory: rather than viewing narrative as static product, the deconstructive narratology it launches would accommodate narrative's bidirectional or cyclical dynamics and elaborate the "energetics" of the narrative process."--Jacket.
British-born experimental writer Christine Brooke-Rose puzzled numerous critics, theoreticians, and writers as she overturned opinions continuously struggling to outline her fractal identity. The present book boldly outlines and settles the ambiguities of Christine Brooke-Rose’s split identity, originating in the psychoanalytical, aesthetic, and authorial confusion of a writer who took delight in challenging readers with highly experimental novels. This study highlights the chameleonic features of the Brooke-Rosean narrative in an audaciously exhaustive and original attempt to chart the author’s lipogrammic narrative discourse, its unifying intertextual yet anamorphic web, and its fictional characters.
This book provides a general overview of the life and literary career of the prolific writer Eva Figes, placing her extensive production within the various literary movements that have shaped the last century, and drawing on the main features of her works and the different stages in her production. Having recourse to the tools provided by narratology and using the theoretical background of the disciplines of ethics, Holocaust and trauma studies, together with other related fields such as theories of artistic representation, identity questions concerning Jewishness, contemporary history and philosophy, it carries out a comprehensive analysis of Figes’s main works. The main starting hypothesis explored throughout the book is that an evolution may be traced in the aesthetics employed by Figes throughout her career – from her initial Modernist phase to her more realist position – to depict individual and collective traumas. This development is a result of her need to find a mode of representing various traumatic events that have given shape to her personal and family history and to our recent collective history, from the two World Wars and the Holocaust to the social exclusion suffered by minority groups like women or the Jewish immigrant communities. This evolution will be also approached thematically, as there is a development from her early interest in depicting isolated male traumatised characters to the traumas suffered by women under patriarchal structures, and, then, to the encounter with her own suffering as a Holocaust survivor. The author’s evolution in the topics and narrative techniques employed mirrors the different stages in the individual and collective processes of recovery from traumatic experiences, from the process of acting out to the eventual healing phase. Thus, the conclusions detailed here will be useful not only to make Figes’ work known to a wider audience, but also to gain an insight into the evolution of the literary tendencies of the last few decades in trying to represent some of the most horrible events of the modern age.
These nineteen essays introduce the rich and until now largely unexplored tradition of women's experimental fiction in the twentieth century. The writers discussed here range from Gertrude Stein to Christine Brooke-Rose and include, among others, Virginia Woolf, Jean Rhys, Jane Bowles, Marguerite Young, Eva Figes, Joyce Carol Oates, and Marguerite Duras. "Friedman and Fuchs demonstrate the breadth of their research, first in their introduction to the volume, in which they outline the history of the reception of women's experimental fiction, and analyze and categorize the work not only of the writers to whom essays are devoted but of a number of others, too; and second in an extensive and wonderfully useful bibliography."--Emma Kafalenos, The International Fiction Review "After an introduction that is practically itself a monograph, eighteen essayists (too many of them distinguished to allow an equitable sampling) take up three generations of post-modernists."--American Literature "The editors see this volume as part of the continuing feminist project of the `recovery and foregrounding of women writers.' Friedman and Fuchs's substantive introduction excellently synthesizes the issues presented in the rest of the volume."--Patrick D. Murphy, Studies in the Humanities Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Combining creative and critical responses from some of today's most progressive and innovative novelists, critics, and theorists, Fiction's Present adventurously engages the aesthetic, political, philosophical, and cultural dimensions of contemporary fiction. By juxtaposing scholarly articles with essays by practicing novelists, the book takes up not only the current state of literature and its criticism but also connections between contemporary philosophy and contemporary fiction. In doing so, the contributors aim to provoke further discussion of the present inflection of fiction—a present that can be seen as Janus-faced, looking both forward to the novel's radically changed, political, economic, and technological circumstances, and back to its history of achievements and problems. Editors R. M. Berry and Jeffrey R. Di Leo contend that examinations of fiction's present are most informative not when they defend philosophical distinctions or develop literary classifications, but when they grapple with elusive topics such as the meaning of a narrative present or the relation of fiction's medium to its representations of context. As the essays reveal, this process, when pursued diligently, breaks down traditional divisions of academic and intellectual labor, compelling the fiction writer to become more philosophical and the theorist to become more imaginative. The value of this book is not in the exhaustiveness of its treatment, but rather in the seriousness of the criticism it incites. The present materializes in quarrel, and it is toward such a beginning that the writings in Fiction's Present work.
The Avant-Postman explores a broad range of innovative postwar writing in France, Britain, and the United States. Taking James Joyce’s "revolution of the word" in Ulysses and Finnegans Wake as a joint starting point, David Vichnar draws genealogical lines through the work of more than fifty writers up to the present, including Alain Robbe-Grillet, B. S. Johnson, William Burroughs, Christine Brooke-Rose, Georges Perec, Kathy Acker, Iain Sinclair, Hélène Cixous, Alan Moore, David Foster Wallace, and many others. Centering the exploration around five writing strategies employed by Joyce—narrative parallax, stylistic metempsychosis, concrete writing, forgery, and neologising the logos—the book reveals the striking continuities and developments from Joyce’s day to our own.
This book critically engages with the visual appearance of prose fiction where it is manipulated by authors, from alterations in typography to the deconstruction of the physical form of the book. It reappraises the range of effects it is possible to create through the use of graphic devices and explores why literary criticism has dismissed such features as either unreadable experimental gimmicks or, more recently, as examples of the worst kind of postmodern decadence. Through the examination of problematical texts which utilise the graphic surface in innovative and unusual ways, including Samuel Beckett’s Watt, B. S. Johnson’s Albert Angelo, Christine Brooke-Rose’s Thru and Alasdair Gray’s Lanark, this book demonstrates that an awareness of the graphic surface can make significant contributions to interpretation.
In a catalogue note for the 1965 exhibition 'Between Poetry and Painting' at the Institute of Contemporary Arts, the poet Edwin Morgan probed the relationship between abstraction and literature: 'Abstract painting can often satisfy, but "abstract poetry" can only exist in inverted commas'. Language may be fragmented, rearranged, or distorted, abstract in so far as it is withdrawn from a particular system of knowledge, but Morgan was of the mind that to be wholly 'disruptive' was to deprive a poem of its 'point' as an 'object of contemplation'. Whilst abstract art may have come to fulfil or or fortify an impression of post-war taste, abstraction in literature continued to be treated with suspicion. But how does this speak to the extent to which Britain's literary culture was responsive to progress compared to its artistic culture? Abstraction in Post-War British Literature 1945-1980 traces a line of literary experimentation in post-war British literature that was prompted by the aesthetic, philosophical and theoretical demands of abstraction. Spanning the period 1945 to 1980, it observes the ways in which certain aesthetic advancements initiated new forms of literary expression to posit a new genealogy of interdisciplinary practice in Britain. At a time in which Britain became conscious of its evolving identity within an increasingly globalised context, this study accounts for the range of Continental and Transatlantic influences in order to more accurately locate the networks at play. Exploring the contributions made by individuals, such as Herbert Read, Ian Hamilton Finlay and Christine Brooke- Rose, as well as by groups of practitioners. It brings a wide range of previously unexplored archival material into the public domain and offers a comprehensive account of the evolving status of abstraction across cultural, institutional, and literary contexts.