DOCSLIB.ORG

Introduction 1 Influence, Image, and the Movement of Time

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction 1 Influence, Image, and the Movement of Time Notes Introduction 1. Oxford English Dictionary. 2. Ibid. 3. Ibid. 4. W.J.T. Mitchell, Iconology: Image, Text, Ideology (University of Chicago Press, 1986), p. 9. 1 Influence, Image, and the Movement of Time 1. Jonathan Lethem, ‘The Ecstasy of Influence: A Plagiarism’, Harper’s Magazine, February 2007, 59– 71. 2. Elizabeth Petrino, ‘Allusion, Echo, and Literary Influence in Emily Dickinson’, The Emily Dickinson Journal, 19:1 (2010), 80– 102 (p. 80). 3. Ibid. 4. Andrew Elfenbein, ‘On the Discrimination of Influences’, Modern Language Quarterly, 69:4 (2008), 481– 507 (p. 486). 5. Katherine Haake, ‘Against Reading’, in Can it Really Be Taught? Resisting Lore in Creative Writing Pedagogy (Portsmouth: Boynton/Cook, 2007), 14– 27 (p. 21). 6. Joseph Bristow, Effeminate England: Homoerotic Writing after 1885 (Buckingham: Open University Press, 1995), p. 175. 7. Alan Sinfield, ‘Culture, Consensus and Difference: Angus Wilson to Alan Hollinghurst’, in British Culture of the Postwar: An Introduction to Literature and Society, 1945– 1999, ed. Alistair Davies and Alan Sinfield (London: Routledge, 2000), pp. 83– 102 (pp. 95– 6). And to this list I would add: a refinement of Christopher Isherwood, a judgement of Robert Mapplethorpe, and a cultiva- tion of Harold Acton. 8. Bristow, Effeminate England, pp. 174– 5. Taking into account Hollinghurst’s recurrent fascination with Henry James’s ‘The Aspern Papers’ (1888) and ‘The Death of the Lion’ (1894), this image of a forbidding textual archive seems especially relevant, and it is, indeed, the challenges of influence pre- sented by these Jamesian archives to which I will turn in later chapters. 9. Alistair Stead, ‘ Self- Translation and the Arts of Transposition in Allan [sic] Hollinghurst’s The Folding Star’, in Translating Life: Studies in Transpositional Aesthetics, ed. Shirley Chew and Alistair Stead (Liverpool University Press, 1999), pp. 361– 85 (pp. 361– 2). 10. David Alderson, ‘Desire as Nostalgia: The Novels of Alan Hollinghurst’, in Territories of Desire in Queer Culture: Refiguring Contemporary Boundaries, ed. David Alderson and Linda Anderson (Manchester University Press, 2000), pp. 29– 48 (p. 44). 11. Denis Flannery, ‘The Powers of Apostrophe and the Boundaries of Mourning: Henry James, Alan Hollinghurst, and Toby Litt’, Henry James Review, 26:3 (2005), 293– 305 (pp. 296– 7), my italics. 154 Notes to Chapter 1 155 12. Julie Rivkin, ‘Writing the Gay ’80s with Henry James: David Leavitt’s A Place I’ve Never Been and Alan Hollinghurst’s The Line of Beauty’, Henry James Review, 26:3 (2005), 282– 92 (p. 282). 13. Georges Letissier, ‘Queer, Quaint and Camp: Alan Hollinghurst’s Own Return to the English Tradition’, Études anglaises, 60:2 (2007), 198– 211 (p. 199). 14. On The Picture of Dorian Gray as the ‘locus classicus of the modern homo- sexual novel’, see: Jeffrey Meyers, Homosexuality and Literature, 1890– 1930 (London: Athlone, 1977), p. 14. 15. On The Great Gatsby as ‘a story of love between men’ mediated by the con- testation of ‘paternal authority’, see Denis Flannery, On Sibling Love, Queer Attachment and American Writing (Aldershot: Ashgate, 2007), p. 9. 16. In his review for The New York Times, Anthony Quinn was quick to point out possible sources of names in The Line of Beauty, particularly Powell and Fitzgerald. Flannery, on the other hand, has seen the names as growing from a Jamesian corpus. See: Denis Flannery, ‘The Powers of Apostrophe and the Boundaries of Mourning: Henry James, Alan Hollinghurst, and Toby Litt’, Henry James Review, 26:3 (2005), 293– 305 (p. 297); Anthony Quinn, ‘The Last Good Summer’, New York Times, 4 October 2004, p. 19. 17. In a certain sense, The Line of Beauty is a roman- à- clef that takes for its back- ground a vast cast of characters from nineteenth- and twentieth- century literature: the key to this novel lies not in identifying fictionalized figures from the real world, but in identifying fictional figures that have been reallocated and recast. Yet in a novel so happily bound to the conventions of post- Jamesian realism, such a technique – one which breaches the boundaries of parody and pastiche – is not simply unexpected, but quite positioned to evade immediate detection. 18. Mitchell, Iconology, p. 10. 19. Ibid. 20. Ibid. 21. Marisa Bortolussi and Peter Dixon, Psychonarratology: Foundations for the Empirical Study of Literary Response (Cambridge University Press, 2003), p. 15. 22. Jay Clayton and Eric Rothstein, ‘Figures in the Corpus: Theories of Influence and Intertextuality’, in Influence and Intertextuality in Literary History, ed. Jay Clayton and Eric Rothstein (Madison: University of Wisconsin Press, 1991), pp. 3– 36 (p. 3). 23. Leon Roudiez, in Julia Kristeva, Desire in Language: A Semiotic Approach to Literature and Art, ed. Leon Roudiez (Oxford: Basil Blackwell, 1980), p. 15. 24. Julia Kristeva, ‘The Bounded Text’ (1969), in Desire in Language, p. 36. 25. J.- K. Huysmans, À rebours (1884; repr. London: Penguin, 2003), p. 49. 26. Nancy Mitford, The Pursuit of Love and Love in a Cold Climate (1945; repr. New York: Vintage, 2001), p. 83. 27. Laura White, ‘The Rejection of Beauty in Waugh’s Brideshead Revisited’, Renascence, 58:3 (2006), 180– 94 (p. 184). 28. Ibid. p. 185. 29. Evelyn Waugh, Brideshead Revisited: The Sacred and Profane Memories of Captain Charles Ryder (1945; repr. New York: Little, Brown, 1999), p. 164. 30. Ibid. p. 169. 31. Mitford, Pursuit of Love, p. 83. 32. Susan Blackmore, The Meme Machine (Oxford University Press, 1999), p. 64. 156 Notes to Chapter 1 33. White, ‘Rejection of Beauty’, p. 184. 34. Huysmans’s novel is, however, still explicitly invoked in The Folding Star: ‘I had him closeted with me in des Esseintes- like privacy, in a sealed world of silk and fur and absolute indulgence’ (FS 224). 35. Alexandra Harris, Romantic Moderns: English Writers, Artists and the Imagination from Virginia Woolf to John Piper (London: Thames & Hudson, 2010), p. 12. 36. Geoff Gilbert, Before Modernism Was: Modern History and the Constituency of Writing (Basingstoke: Palgrave, 2004), p. ix. 37. Harold Bloom, The Anxiety of Influence, 2nd edn (Oxford University Press, 1997), p. 7. 38. Harold Bloom, A Map of Misreading (Oxford University Press, 1975), p. 9. 39. It was not until the second edition of The Anxiety of Influence that Bloom, in a new preface, wrote on Shakespeare, the poet he has long and staunchly held as the most central figure in English literature, and, therefore, the very cause of influence anxiety. 40. W. Jackson Bate, The Burden of the Past and the English Poet (Cambridge, Mass.: Harvard University Press, 1970), p. 3. 41. Ibid. p. 106. 42. See Elfenbein on the Romantic ‘cult of genius’ and homosexuality: Romantic Genius: The Prehistory of a Homosexual Role (New York: Columbia University Press, 1999). 43. Mark Rose, Authors and Owners: The Invention of Copyright (London: Harvard University Press, 1993), p. 39. 44. Bloom, Anxiety, pp. 5– 6. 45. Exactly 100 years previously, the ‘Advertisement’ to the 1798 anonymous edition of Lyrical Ballads, which would be replaced in the three subsequent editions with Wordsworth’s more famous ‘Preface’, would confess that, ‘THE RIME OF THE ANCYENT MARINERE was professedly written in imitation of the style as well as of the spirit of the elder poets; but with few exceptions the author believes that the language adopted in it has been equally intelligible for these last three centuries.’ Perhaps Wilde’s failure, then, is in not ‘professedly [writing] in imitation of the style as well as the spirit of the elder poets’. See: Michael Mason, ed., ‘Advertisement’ to Lyrical Ballads, 1798 edition, Lyrical Ballads (London: Longman, 1992), p. 35. 46. Qtd in Bloom, Anxiety, p. 6. The bracketed text has been added from the orig- inal: Oscar Wilde, The Picture of Dorian Gray (1891; repr. Ware: Wordsworth, 1992), p. 18. 47. Wilde, Picture, p. 102. 48. Bloom, Anxiety, p. 6. 49. T.S. Eliot, ‘Tradition and the Individual Talent’, in Selected Prose of T.S. Eliot, ed. Frank Kermode (London: Harcourt, 1975), pp. 37– 44 (p. 38). 50. T.S. Eliot, ‘The Metaphysical Poets’, in Selected Prose of T.S. Eliot, ed. Frank Kermode (London: Harcourt, 1975), pp. 59– 67 (pp. 64– 5). 51. Ibid. p. 65. 52. Bloom, Map, p. 19. 53. Ibid. p. 49. 54. Roland Barthes’s use of Balzac’s castrato in ‘The Death of the Author’ becomes especially poignant in light of Gilbert and Gubar’s line of reason- ing, and particularly in the light of the opening question of The Madwoman Notes to Chapter 2 157 in the Attic: ‘is a pen a metaphorical penis?’ Sandra Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth- Century Literary Imagination, 2nd edn (1979; repr. London: Yale University Press, 2000). The absence of the castrato’s penis is not only pivotal to the contriv- ances of ‘Sarrasine’, but pivotal to Barthes’s argument that not only can an absence of a penis/pen engender authorship, but, indeed, authorship is demonstrably the absence of such an instrument. ‘Sarrasine’ is an ideal story for Barthes to use, in that its representational power here far outstretches its implicit textual significance, and heralds future reconsiderations of the relationship that exists between texts, and the relationship between author and reader that will necessarily inform this. 55. One of the few sustained accounts of gay literary influence is Christopher Lane’s short review article, ‘Gay Tradition and the Anxiety of Influence’. In it, he reviews Bergman’s Gaiety Transfigured (1991), Mark Lilly’s Lesbian and Gay Writing (1990), and Claude Summers’s Gay Fictions: Wilde to Stonewall (1990). See: Christopher Lane, ‘Gay Tradition and the Anxiety of Influence’, Contemporary Literature, 34:2 (1993), 293– 303.
Load more

Recommended publications
  • Seminar Schedule
    Thatcherisms: Britain's Change in Literature and Film Target Group and Field: BA (1.2), MAIAS elective, cultural studies, Magister Time: Tuesdays, 8.30 a.m. - 10 a.m. (s. t.*); Room: S 124; Building: GWI Seminar Description: In her time as PM, Margaret Thatcher entirely reshaped the face of Britain. The system of political thought, which she and her government represented, is called Thatcherism. It involves less state intervention and more marked economy, the privatisation of state-owned industries, lower direct taxes together with higher indirect taxes that put poorer families at a disadvantage. Generally one can understand Thatcherism at the turn away from the Welfare State, which was created with the end of the Second World War. In this seminar, we will discuss some of the changes in policy between 1979 and 1990, and the reverberation of the Thatcher governments. We are tracing the history of Thatcherism in fact and fiction, both literary as well as cinematic. Literature to be obtained: Alan Hollinghurst, The Line of Beauty; Kazuo Ishiguro, The Remains of the Day. Literature in the Semesterapparat (202): Andrew Gamble, The Free Economy and the Strong State, ch. 4 (in folder). Website: In the course of the semester, you will find all kinds of info on my website. Not all texts to be read are set, yet. Keep your eyes peeled for coming updates. How to obtain credit points?: presentation (10-15 mins: 2 cps), written exam (2 cps), essay (2000 wds: 2cps); possible combinations: 3/4cps: px, pe, (xe); 5/6 cps: pxe. Presentations must be discussed one week in advance in my office hours.
    [Show full text]
  • Hollinghurst, Alan (B
    Hollinghurst, Alan (b. 1954) by Raymond-Jean Frontain Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2006 glbtq, Inc. Reprinted from http://www.glbtq.com Alan Hollinghurst. Photograph by Robert Alan Hollinghurst has been as warmly celebrated for his elegant prose style and subtle Taylor. representations of moral ambiguities, as he has been criticized by gay and straight Image courtesy readers alike for his frank representations of casual gay sex. In recent years he has Bloomsbury USA. emerged as the most important gay novelist in Great Britain since E. M. Forster. Hollinghurst extends the narrative tradition inaugurated by Christopher Isherwood and developed most significantly by Edmund White in which a character's gayness is simply a given in the novel, forcing the reader to adjust his or her expectations accordingly. Hollinghurst neither idealizes nor melodramatizes his characters' experiences, but dares to present the emotional complexities of everyday gay life in all of their mundanity. Hollinghurst possesses a sharp eye for social excesses and for the individual's propensity for self-delusion. His satiric impulse is tempered by a lyrical gift that renders many passages poems in prose. In Hollinghurst's novels, an exquisite aesthetic sensibility is conjoined with what Hollinghurst himself terms an acceptance of sex as "an essential thread running through everything . in a person's life." Were Marcel Proust or Ronald Firbank able to impose his style upon the subject matter of Jean Genet, the result would read like Hollinghurst's fiction. Biography Hollinghurst was born on May 26, 1954, into an economically comfortable, politically conservative household in Stroud, Gloucestershire.
    [Show full text]
  • Experimental Pharmacology and Therapeutic Innovation in the Eighteenth Century
    -e: EXPERIMENTAL PHARMACOLOGY AND THERAPEUTIC INNOVATION IN THE EIGHTEENTH CENTURY by ANDREAS-HOLGER MAEHLE A thesis submitted for the degree of Doctor of Philosophy of the University of London University College London 1996 ProQuest Number: 10017185 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10017185 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT In the historiography of pharmacology and therapeutics, the 18th century is regarded as a period of transition from traditional, Galenistic materia medica to the beginnings of modern, experimental drug research. Ackerknecht (1973) characterized the pharmacotherapy of this period as a "chaotic mixture of chemiatric and Galenistic practices", yet acknowledged an "increasing tendency toward empiricism, partly even true experimentalism". This thesis explores this transitional phase for the first time in depth, examining the relations between pharmacological experimentation, theory-building, and therapeutic practice. Furthermore, ethical aspects are highlighted. The general introduction discusses the secondary literature and presents the results of a systematic study of pharmacological articles in relevant 18th-century periodicals. The identified main areas of contemporary interest, the spectrum of methods applied, and the composition of the authorship are described and interpreted.
    [Show full text]
  • GERMAN LITERARY FAIRY TALES, 1795-1848 by CLAUDIA MAREIKE
    ROMANTICISM, ORIENTALISM, AND NATIONAL IDENTITY: GERMAN LITERARY FAIRY TALES, 1795-1848 By CLAUDIA MAREIKE KATRIN SCHWABE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Claudia Mareike Katrin Schwabe 2 To my beloved parents Dr. Roman and Cornelia Schwabe 3 ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisory committee chair, Dr. Barbara Mennel, who supported this project with great encouragement, enthusiasm, guidance, solidarity, and outstanding academic scholarship. I am particularly grateful for her dedication and tireless efforts in editing my chapters during the various phases of this dissertation. I could not have asked for a better, more genuine mentor. I also want to express my gratitude to the other committee members, Dr. Will Hasty, Dr. Franz Futterknecht, and Dr. John Cech, for their thoughtful comments and suggestions, invaluable feedback, and for offering me new perspectives. Furthermore, I would like to acknowledge the abundant support and inspiration of my friends and colleagues Anna Rutz, Tim Fangmeyer, and Dr. Keith Bullivant. My heartfelt gratitude goes to my family, particularly my parents, Dr. Roman and Cornelia Schwabe, as well as to my brother Marius and his wife Marina Schwabe. Many thanks also to my dear friends for all their love and their emotional support throughout the years: Silke Noll, Alice Mantey, Lea Hüllen, and Tina Dolge. In addition, Paul and Deborah Watford deserve special mentioning who so graciously and welcomingly invited me into their home and family. Final thanks go to Stephen Geist and his parents who believed in me from the very start.
    [Show full text]
  • Addition to Summer Letter
    May 2020 Dear Student, You are enrolled in Advanced Placement English Literature and Composition for the coming school year. Bowling Green High School has offered this course since 1983. I thought that I would tell you a little bit about the course and what will be expected of you. Please share this letter with your parents or guardians. A.P. Literature and Composition is a year-long class that is taught on a college freshman level. This means that we will read college level texts—often from college anthologies—and we will deal with other materials generally taught in college. You should be advised that some of these texts are sophisticated and contain mature themes and/or advanced levels of difficulty. In this class we will concentrate on refining reading, writing, and critical analysis skills, as well as personal reactions to literature. A.P. Literature is not a survey course or a history of literature course so instead of studying English and world literature chronologically, we will be studying a mix of classic and contemporary pieces of fiction from all eras and from diverse cultures. This gives us an opportunity to develop more than a superficial understanding of literary works and their ideas. Writing is at the heart of this A.P. course, so you will write often in journals, in both personal and researched essays, and in creative responses. You will need to revise your writing. I have found that even good students—like you—need to refine, mature, and improve their writing skills. You will have to work diligently at revising major essays.
    [Show full text]
  • The Contemporary English Country House Novel After 2000
    Resurgence and Renovation: The Contemporary English Country House Novel after 2000 Submitted for examination for the degree of Ph.D. in English Literature by Barbara Williams 080782814 School of English Literature, Language, and Linguistics Newcastle University August 2015 Abstract This thesis examines the resurgence of the English country house novel since 2000 as part of the growing popularity of the country house setting in contemporary British culture. In the context of economic recession, growing English nationalism, and a Conservative-led government accused of producing a ‘Downton Abbey-style society’, country house texts are often dismissed as nostalgic for a conservative social order. This study reclaims the English country house novel from this critical dismissal, stressing the genre’s political ambivalence. While readings of the country house resurgence are mostly played out through the media’s reaction to television programmes, my research provides a detailed and comparative examination of literary texts currently missing from the debate. I situate Ian McEwan’s Atonement (2001), Sally Beauman’s Rebecca’s Tale (2001), Toby Litt’s Finding Myself (2003), Wesley Stace’s Misfortune (2005), Diane Setterfield’s The Thirteenth Tale (2006), Sarah Waters’s The Little Stranger (2009), and Alan Hollinghurst’s The Stranger’s Child (2011) within a wider body of discourse on the country house, exploring the contemporary relevance and cultural value of the setting. It is my contention that the English country house novel self-consciously negotiates its growing popularity in contemporary culture. In chapter one, I argue that the recent shift from material to textual inheritance in the genre is a way of reclaiming voices traditionally excluded from the canonical house of fiction.
    [Show full text]
  • Introduction: Questions of Class in the Contemporary British Novel
    Notes Introduction: Questions of Class in the Contemporary British Novel 1. Martin Amis, London Fields (New York: Harmony Books, 1989), 24. 2. The full text of Tony Blair’s 1999 speech can be found at http://news.bbc. co.uk/2/hi/uk_news/politics/460009.stm (accessed on December 9, 2008). 3. Terry Eagleton, After Theory (New York: Perseus Books, 2003), 16. 4. Ibid. 5. Peter Hitchcock, “ ‘They Must Be Represented’: Problems in Theories of Working-Class Representation,” PMLA Special Topic: Rereading Class 115 no. 1 January (2000): 20. Savage, Bagnall, and Longhurst have also pointed out that “Over the past twenty-five years, this sense that the working class ‘matters’ has ebbed. It is now difficult to detect sustained research interest in the nature of working class culture” (97). 6. Gary Day, Class (London and New York: Routledge, 2001), 202. This point is also echoed by Ebert and Zavarzadeh: “By advancing singularity, hetero- geneity, anti-totality, and supplementarity, for instance, deconstruction has, among other things, demolished ‘history’ itself as an articulation of class relations. In doing so, it has constructed a cognitive environment in which the economic interests of capital are seen as natural and not the effect of a particular historical situation. Deconstruction continues to produce some of the most effective discourses to normalize capitalism and contribute to the construction of a capitalist-friendly cultural common sense . .” (8). 7. Slavoj Žižek, In Defence of Lost Causes (London and New York: Verso, 2008), 404–405 (Hereafter, Lost Causes). 8. Andrew Milner, Class (London: Sage, 1999), 9. 9. Gavin Keulks, ed., Martin Amis: Postmodernism and Beyond (New York: Palgrave Macmillan, 2006), 73.
    [Show full text]
  • The Man Booker Prize This Prestigious Award Is Awarded to The
    The Man Booker Prize The National Book Foundation presents this Listed here are the Best Novel winners. This prestigious award is awarded to the award, one of the nation=s most preeminent best contemporary fiction written by a literary prizes. 2008 Powers by Ursula Le Guin 2007 The Yiddish Policemen’s Union by Michael citizen of the Commonwealth or the Republic Chabon of Ireland. 2008 Shadow Country by Peter Matthiessen 2006 Seeker by Jack McDevitt 2007 Tree of Smoke by Denis Johnson 2005 Camouflage by Joe Haldeman 2006 Echo Maker by Richard Powers 2008 The White Tiger by Aravind Adiga 2004 Paladin of Souls by Lois McMaster Bujold 2005 Europe Central by William T. Vollmann 2007 The Gathering by Anne Enright 2004 The News from Paraguay by Lily Tuck 2006 Inheritance of Loss by Kiran Desai 2003 The Great Fire by Shirley Hazard PEN/Faulkner Award 2005 The Sea by John Banville The PEN/Faulkner Foundation confers this 2004 The Line of Beauty by Alan Hollinghurst 2003 Vernon God Little by DBC Pierre annual prize for the best work of fiction by an American author. The Edgar Award The National Book Award for Nonfiction 2009 Netherland by Joseph O’Neill 2008 The Hemingses of Monticello: An American The Edgar Allan Poe Awards are given by 2008 The Great Man by Kate Christensen Family by Annette Gordon-Reed 2007 Everyman by Philip Roth the Mystery Writers of America to honor 2007 Legacy of Ashes: The History of the C.I.A. 2006 The March by E.L. Doctorow authors of distinguished work in various by Tim Weiner 2005 War Trash by Ha Jin categories.
    [Show full text]
  • Golden Man Booker Prize Shortlist Celebrating Five Decades of the Finest Fiction
    Press release Under embargo until 6.30pm, Saturday 26 May 2018 Golden Man Booker Prize shortlist Celebrating five decades of the finest fiction www.themanbookerprize.com| #ManBooker50 The shortlist for the Golden Man Booker Prize was announced today (Saturday 26 May) during a reception at the Hay Festival. This special one-off award for Man Booker Prize’s 50th anniversary celebrations will crown the best work of fiction from the last five decades of the prize. All 51 previous winners were considered by a panel of five specially appointed judges, each of whom was asked to read the winning novels from one decade of the prize’s history. We can now reveal that that the ‘Golden Five’ – the books thought to have best stood the test of time – are: In a Free State by V. S. Naipaul; Moon Tiger by Penelope Lively; The English Patient by Michael Ondaatje; Wolf Hall by Hilary Mantel; and Lincoln in the Bardo by George Saunders. Judge Year Title Author Country Publisher of win Robert 1971 In a Free V. S. Naipaul UK Picador McCrum State Lemn Sissay 1987 Moon Penelope Lively UK Penguin Tiger Kamila 1992 The Michael Canada Bloomsbury Shamsie English Ondaatje Patient Simon Mayo 2009 Wolf Hall Hilary Mantel UK Fourth Estate Hollie 2017 Lincoln George USA Bloomsbury McNish in the Saunders Bardo Key dates 26 May to 25 June Readers are now invited to have their say on which book is their favourite from this shortlist. The month-long public vote on the Man Booker Prize website will close on 25 June.
    [Show full text]
  • HPL Book Group Titles Read 7/15-An Unnecessary Woman by Rabih
    HPL Book Group Titles Read 7/15-An Unnecessary Woman by Rabih Alameddine 6/15-Italian Shoes by Henning Mankell 5/15-House in the Sky by Amanda Lindhout and Sara Corbett 4/15 Elizabeth Costello by J.M. Coetzee 3/15-The Lowland by Jhumpa Lahiri 2/15-When the Emperor Was Divine and The Buddha in the Attic by Julie Otsuka 1/15-The Interestings by Meg Wolitzer 11/14-The Circle by Dave Eggers 10/14-Book of Ages by Jill Lepore 9/14- A Constellation of Vital Phenomena by Anthony Marra 8/14-“The Displaced Person” and “Good Country People” from Complete Stories by Flannery O’Connor 7/14- House of Stone: A Saga of Home, Family, and a Lost Middle East by Anthony Shadid 6/14- Dreams of Trespass by Fatima Mernissi 5/14- Wings of the Dove by Henry James 4/14- The Dinner by Herman Koch 2/14- Flight Behavior by Barbara Kingsolver 1/14- The Warmth of Other Suns by Isabel Wilkerson 10/13- On the Road by Jack Kerouac 9/13-Behind the Beautiful Forevers by Katherine Boo 8/13-The Twelve Tribes of Hattie by Ayana Mathis 7/13- The Sandcastle Girls by Chris Bohjalian 6/13- A Moveable Feast by Ernest Hemingway 5/13- State of Wonder by Ann Patchett 4/13- In the Garden of Beasts by Erik Larson 3/13-The Immortal Life of Henrietta Lacks by Rebecca Skloot 2/13- The Sense of an Ending by Julian Barnes 1/13- Midnight’s Children by Salman Rushdie 11/12- The Line of Beauty by Alan Hollinghurst 9/12- The Age of Innocence by Edith Wharton 8/12- Circling My Mother by Mary Gordon 7/12- Outliers: The Story of Success by Malcolm Gladwell 6/12- Freedom by Jonathan Franzen 5/12- The Autobiography of Alice B.
    [Show full text]
  • ETHICAL DESIRE: BETRAYAL in CONTEMPORARY BRITISH FICTION a Dissertation by SOO YEON KIM Submitted to the Office of Graduate
    ETHICAL DESIRE: BETRAYAL IN CONTEMPORARY BRITISH FICTION A Dissertation by SOO YEON KIM Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2010 Major Subject: English ETHICAL DESIRE: BETRAYAL IN CONTEMPORARY BRITISH FICTION A Dissertation by SOO YEON KIM Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee David McWhirter Committee Members Mary Ann O’Farrell Theodore George Elizabeth Ho Head of Department M. Jimmie Killingsworth May 2010 Major Subject: English iii ABSTRACT Ethical Desire: Betrayal in Contemporary British Fiction. (May 2010) Soo Yeon Kim, B.A., Seoul National University; M.A., Seoul National University Chair of Advisory Committee: Dr. David McWhirter This dissertation investigates representations of betrayal in works by Hanif Kureishi, Salman Rushdie, Irvine Welsh, and Alan Hollinghurst. In rethinking “bad” acts of betrayal as embodying an ethical desire not for the good but for “the better,” this dissertation challenges the simplistic good/bad binary as mandated by neo-imperialist, late capitalist, and heteronormative society. In doing so, my project intervenes in the current paradigm of ethical literary criticism, whose focus on the canon and the universal Good gained from it runs a risk of underwriting moral majoritarianism and judgmentalism. I argue that some contemporary narratives of betrayal open up onto a new ethic, insofar as they reveal the unethical totalization assumed in ethical literary criticism’s pursuit of the normative Good.
    [Show full text]
  • Polysèmes, 22 | 2019 Intermedial Cityscapes: Re-Imagining Gay London in Scott Lyman’S Folly/Monume
    Polysèmes Revue d’études intertextuelles et intermédiales 22 | 2019 Landscapes/Cityscapes Intermedial Cityscapes: Re-imagining Gay London in Scott Lyman’s Folly/Monument; Excerpts from Alan Hollinghurst’s The Swimming-Pool Library (2014) Paysages urbains intermédiaux : Revoir le Londres gay dans Folly/ Monument; Excerpts from Alan Hollinghurst’s The Swimming-Pool Library de Scott Lyman (2014) Xavier Giudicelli Electronic version URL: http://journals.openedition.org/polysemes/6095 ISSN: 2496-4212 Publisher SAIT Electronic reference Xavier Giudicelli, « Intermedial Cityscapes: Re-imagining Gay London in Scott Lyman’s Folly/Monument; Excerpts from Alan Hollinghurst’s The Swimming-Pool Library (2014) », Polysèmes [Online], 22 | 2019, Online since 20 December 2019, connection on 24 December 2019. URL : http:// journals.openedition.org/polysemes/6095 This text was automatically generated on 24 December 2019. Polysèmes Intermedial Cityscapes: Re-imagining Gay London in Scott Lyman’s Folly/Monume... 1 Intermedial Cityscapes: Re- imagining Gay London in Scott Lyman’s Folly/Monument; Excerpts from Alan Hollinghurst’s The Swimming-Pool Library (2014) Paysages urbains intermédiaux : Revoir le Londres gay dans Folly/ Monument; Excerpts from Alan Hollinghurst’s The Swimming-Pool Library de Scott Lyman (2014) Xavier Giudicelli Even among the straight lines of the Park I wasn’t thinking straight […]. (Hollinghurst 1998, 5) 1 Folly/Monument; Excerpts from Alan Hollinghurst’s The Swimming-Pool Library1 is an installation by the American artist Scott Lyman, born in 1986, who has a background in performance studies and graduated with an MA in Fine Arts from Central Saint Martins College of Art and Design in 2014. It was first exhibited at the Institute of Contemporary Art (ICA), in London, as part of the Bloomberg “New Contemporaries” 2015 exhibition (25 November 2015-24 January 2016).
    [Show full text]