EXOTICISM in the WRITINGS of IAN Mcewan

Total Page:16

File Type:pdf, Size:1020Kb

EXOTICISM in the WRITINGS of IAN Mcewan INFOKARA RESEARCH ISSN NO: 1021-9056 EXOTICISM IN THE WRITINGS of IAN McEWAN J.Ramona, Research Scholar Dr.J.Uma Samundeeswari, Assistant Professor of English Department of English, AVVM Sri Puspham College, Poondi, India. Email id: [email protected] ABSTRACT: Exoticism in English Literature is primarily understood as the charm of the unfamiliar. One of McEwan’s goals is to “incite an explicit hunger in the readers.” In his writings every turn and glimpse is another tightening of the noose. His lines are wrapped in the essence of exoticism which makes his novels beautifully alive to the fragility o happiness and all forms of violence. He remains at the top of his game – assured, accomplished and ambitious. His novels are brilliantly engineered and marvelously entertaining. They are compassionate without resorting to sentimentality, clever without ever losing its honesty, an undistinguished novel of ideas. KEY WORDS: Exoticism, Excitement, Suspense, Narrative, Emotional alertness. McEwan believes that something stirring and striking should happen in a novel. Though he is animated by ideas, he would never plop two characters and have them expound rival philosophies. The opening of “Enduring Love” offers a crisp illustration of game theory: when a balloon becomes untethered, each of the five men holding a rope is forced to make a decision without knowing what others will do but most readers enjoy it as a thrilling set of piece. McEwan has cited twice that Henry James’s dictum that the only obligation of a novel” is that it ought to be interesting.” Later, McEwan declared that he finds “ most novels incredibly boring. It’s amazing how the form endures. Not being boring is quite a challenge.” McEwan’s 1992 novel “Black Dogs” is about a terrible event that sunders a husband wife. After June Tremaine escapes an attack by dogs --- “spirit hounds, incarnations” --- she is left “convinced of the existence of evil and of God.” She declares, “Without a revolution of the inner life, however slow, all our big designs are worthless.” Her husband, Bernard, a doctrinaire rationalist, cannot abide the “ lengthening roll call of June’s certainties: unicorns, wood spirits, angels, mediums, self – healing, the collective unconscious, the ‘Christ within us.’ McEwan renders their falling out with admirable equipoise. At the novel’s end, he offers a lyrical description of June in a meditative trance: Volume 8 Issue 10 2019 872 http://infokara.com/ INFOKARA RESEARCH ISSN NO: 1021-9056 She was delivered into herself, she was changed. This, now, here. Surely this was what existence strained to be, and so rarely had the chance: to savor itself fully in the present….. the smooth darkening summer air, the scent of thyme crushed underfoot, her hunger, her slaked thirst, the aftertaste of peach, the stickiness on her hand, her tired legs, her sweaty, sunny, dusty fatigue. ( P.169 ) Galen Strawson, a philosopher who lives in Oxford, said that the breakup freed McEwan to “become radically more scientific than any one of us.” McEwan’s next novel was “Enduring Love” whereas in “Black Dogs” the intellectual war is between equals, Joe Rose’s logical mind clearly shows up that of his girlfriend, Clarissa. A Romantic scholar, she doubts his evidence that he is being stalked, and nearly ends up dead. McEwan remembers that not every reader accepted the point. In his novel, “Cement Garden”, he has marvelously creates the atmosphere of youngsters given that instant adulthood they all crave, where the ordinary takes on a mysterious glow and the extraordinary seems rather common place. A.Alvarez said that, “It is the most original prose talent to emerge from England for a generation.” As McEwan has grown more outspoken in his rationalism, his books have become fully anchored in old – fashioned realism. “It’s enough to try and make some plausible version of what we’ve got, rather than have characters sprout wings and fly out the window,” he says. Although “Atonement” ultimately makes the reader uncomfortably aware of its status as fiction, McEwan achieves the effect in a manner often associated with Hollywood thrillers. The fact that Robbie’s story is a romantic fantasy invented by Briony, the person who betrayed him, is presented as a twist ending. More than anything, the structure of “Atonement” resembles one of those psychological studies which McEwan so admires. No reader will begin “The Comfort of Strangers” and fail to finish it; A black magician is at work. – New York Times. “The Comfort of Strangers”, is Ian’s another novel in which Colin and Mary are a couple whose intimacy knows no bounds. Away on a holiday together in a nameless city, they get lost one evening in a labyrinth of streets and canals. They happen upon Robert, a stranger with a dark history, who takes them to bar and ushers them down into a subterranean land of violence and obsession. Volume 8 Issue 10 2019 873 http://infokara.com/ INFOKARA RESEARCH ISSN NO: 1021-9056 “Saturday” was an even more personal statement --- a direct assault on the modern novel’s skepticism toward science. This novel presents technology in a far more sanguine light. The book’s rapturous cameras ---- which strike some readers as blindly consumerist --- suggest Perowne’s appreciation of the human ingenuity behind even incremental invention. Postmodern novelists have suggested that the contemporary world is an enveloping mystery, a dark chain of conspiracies. For McEwan, though we live in a widening cone of light --- a time of the decoded genome, the Hubble telescope, the illuminated brain. Such glories might best be appreciated by a novelist with an Augustan spirit. When McEWAN does begin writing, he tries to nudge himself into a state of ecstatic concentration. A passage in “Saturday” describing Perowne in the operating theatre could also serve as McEwan’s testament to his love of sculpting prose: For the past two hours he’s been in a dream of absorption that has dissolved all sense of time, and all awareness of the other parts of his life. Even his awareness of his own existence has vanished. He’s been delivered into a pure present, free of the weight of the past or any anxieties about the future. In retrospect, though never at the time, it feels like profound happiness. It’s a little like he feels himself in another medium, but it’s less obviously pleasurable, and clearly not sensual. This state of mind brings a contentment he never finds with any passive form of entertainment. Books, cinema, even music can’t bring him to this…. This benevolent dissociation seems to require difficulty, prolonged demands on concentration and skills, pressure, problems to be solved, even danger. He feels calm, and spacious, fully qualified to exist. It’s a feeling of clarified emptiness, of deep and muted joy. (P.258) For McEwan , a single “dream of absorption” often yields just a few details worth fondling. Several hundred words is a good day. At one point, we spoke of a line from ‘The Child in Time.” Stephen Lewis, watching his wife give birth, muses, “This is really all we have got, this increase, this matter of life loving itself.” Such whispers are McEwan at his best. “You see that by reversing a word order or taking something out, suddenly it tightens into what it was always meant to be.” Thus taut with narrative excitement and suspense , the aroma of exoticism overflows with rich diversity in the novels of Ian McEwan that triumphantly integrates imagination with intelligence, rationality with emotional alertness. Volume 8 Issue 10 2019 874 http://infokara.com/ INFOKARA RESEARCH ISSN NO: 1021-9056 REFERENCES: Malcolm David. 2002. Understanding Ian McEwan. Columbia: University of South Carolina Press. McEwan Ian. 1993. Black Dogs. London: Jonathan Cape. McEwan Ian.1998. Enduring Love. London. Random House. Vintage Books. McEwan Ian.1997. The Cement Garden.London. Random House. Vintage Books. McEwan Ian. 2007. Atonement. London: Jonathan Cape. McEwan Ian. 1997. The Comfort of Strangers. Random House. Vintage Books. McEwan Ian. 2006. Saturday. Random House. Vintage Books. Volume 8 Issue 10 2019 875 http://infokara.com/.
Recommended publications
  • The Children Act : a Novel / Ian Mcewan
    Also by Ian McEwan First Love, Last Rites In Between the Sheets The Cement Garden The Comfort of Strangers The Child in Time The Innocent Black Dogs The Daydreamer Enduring Love Amsterdam Atonement Saturday On Chesil Beach Solar Sweet Tooth This book is a work of fiction. Names, characters, businesses, organizations, places, events, and incidents either are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental. Copyright © 2014 by Ian McEwan All rights reserved. Published in the United States by Nan A. Talese/Doubleday, a division of Random House LLC, New York, a Penguin Random House company. www.nanatalese.com Originally published in Great Britain by Jonathan Cape, an imprint of the Random House Group Ltd., London DOUBLEDAY is a registered trademark of Random House LLC. Nan A. Talese and the colophon are trademarks of Random House LLC. Ian McEwan is an unlimited company no. 7473219 registered in England and Wales. Jacket design by Michael J. Windsor Jacket illustrations: blood © rangizzz/Shutterstock; texture © Flas100/Shutterstock Library of Congress Cataloging-in-Publication Data McEwan, Ian, author. The children act : a novel / Ian McEwan. — First American edition. pages cm ISBN 978-0-385-53970-8 (hardcover) — ISBN 978-0-385-53971-5 (eBook) 1. Women judges—Fiction. 2. Self-actualization (Psychology) in women—Fiction. 3. Religion and law—England—Fiction. 4. Legal stories. I. Title. PR6063.C4C48 2014 823′.914—dc23 2014018448 v3.1 TO RAY DOLAN Contents Cover Other Books by This Author Title Page Copyright Dedication Epigraph Chapter One Chapter Two Chapter Three Chapter Four Chapter Five Acknowledgments A Note About the Author When a court determines any question with respect to … the upbringing of a child … the child’s welfare shall be the court’s paramount consideration.
    [Show full text]
  • The Concept of Irony in Ian Mcewan's Selected Literary Works
    Univerzita Palackého v Olomouci Filozofická fakulta Katedra anglistiky a amerikanistiky Bc. Eva Mádrová Concept of Irony in Ian McEwan’s Selected Literary Works Diplomová práce PhDr. Libor Práger, Ph.D. Olomouc 2013 Prohlašuji, že jsem tuto diplomovou práci na téma “Concept of Irony in Ian McEwan’s Selected Literary Works” vypracovala samostatně pod odborným dohledem vedoucího práce a uvedla jsem všechny použité podklady a literaturu. V Olomouci dne Podpis I would like to thank my supervisor PhDr. Libor Práger, Ph.D. for his assistance during the elaboration of my diploma thesis, especially for his valuable advice and willingness. Table of contents Introduction 6 1. Ian McEwan 7 2. Methodology: Analysing irony 8 2.1 Interpreter, ironist and text 8 2.2 Context and textual markers 10 2.3 Function of irony 11 2.4 Postmodern perspective 12 3. Fiction analyses 13 3.1 Atonement 13 3.1.1 Family reunion ending as a trial of trust 13 3.1.2 The complexity of the narrative: unreliable narrator and metanarrative 14 3.1.3 Growing up towards irony 17 3.1.4 Dramatic encounters and situations in a different light 25 3.2 The Child in Time 27 3.2.1 Loss of a child and life afterwards 27 3.2.2 The world through Stephen Lewis’s eyes 27 3.2.3 Man versus Universe 28 3.2.4 Contemplation of tragedy and tragicomedy 37 3.3 The Innocent 38 3.3.1 The unexpected adventures of the innocent 38 3.3.2 The single point of view 38 3.3.3 The versions of innocence and virginity 40 3.3.4 Innocence in question 48 3.4 Amsterdam 50 3.4.1 The suicidal contract 50 3.4.2 The multitude
    [Show full text]
  • Download Download
    IJELLH Volume 6, Issue 12, December 2018 73 J.Ramona Asst.Professor of English Bon Secours College for Women India. [email protected] TEMPORAL EXPERIENCES IN THE SELECT NOVELS OF IAN McEWAN Abstract This paper exerts to analyze Ian’s concept of temporal experiences in this postmodern world. Ian’s novels stands out for its highlight on temporality and the tacit exigency to tackle one’s moral identity. McEwan designs his novels as a fictitious narrative based on various themes, using them in hookup with his plots, characters and symbols, to add emphasis to the concepts and the ideas that shape his stories. His themes range from universal to the complex. The overriding temporal frame of his novels are uncanny. Key Words: Temporal, Mundanity, Sacrosanct, Servitude, Ethical Vision. “Temporal and spiritual things are inseparably connected, and even will be.” - Joseph Smith In the light of temporality the author appears to juxtapose the time of mundanity for the characters and a time that is sacrosanct and servitude, thus stressing an ethical vision, IJELLH Volume 6, Issue 12, December 2018 74 possibly beyond what the self – centered British society in this postmodern world can foresee. All the underlying attention to temporal expressions and the prominent zerohour of life only reinforces the author’s call for moral inquiries and search for accountable, ethical stances in an era of transition and deterioration. McEwan continues to explore the impact on ordinary people of unusual or extreme situations, as they face sudden shocking violence or slip into acute psychological states. The Cement Garden is a clear metaphor of dysfunctional mourning of the characters Jack and his siblings.
    [Show full text]
  • Ian Mcewan's Atonement
    UNIVERZITA PALACKÉHO V OLOMOUCI Pedagogická fakulta Katedra anglického jazyka ANETA VRÁGOVÁ III. ročník – prezenční studium Obor: Anglický jazyk se zaměřením na vzdělávání – Německý jazyk se zaměřením na vzdělávání IAN MCEWAN’S ATONEMENT: COMPARISON OF THE NOVEL AND THE FILM ADAPTATION Bakalářská práce Vedoucí práce: Mgr. Josef Nevařil, Ph.D. Olomouc 2015 Prohlášení: Prohlašuji, že jsem závěrečnou práci vypracovala samostatně a použila jen uvedených pramenů a literatury. V Olomouci (datum) ……………………………………………… vlastnoruční podpis I would like to thank Mgr. Josef Nevařil, Ph. D. for his assistance, comments and guidance throughout the writing process. CONTENTS INTRODUCTION .......................................................................................................... 6 1. BIOGRAPHY OF IAN MCEWAN ...................................................................... 7 1.1. BIOGRAPHY ................................................................................................... 7 1.2. LITERARY OUTPUT ...................................................................................... 8 1.3. AUTOBIOGRAPHICAL ASPECTS ................................................................ 9 2. POSTMODERNISM .......................................................................................... 12 3. COMPARISON OF THE NOVEL ATONEMENT AND THE FILM ADAPTATION ......................................................................................................................... 14 3.1. NOVEL: GENERAL INFORMATION ........................................................
    [Show full text]
  • Postmodern Children and the Cement Garden of Ian Mcewan Réka Vajda [email protected]
    Eger Journal of English Studies XX (2020) 65–76 65 Postmodern Children and THE CEMENT GARDEN of Ian McEwan Réka Vajda [email protected] Postmodern childhood narratives often explore disturbing themes, break social conventions and taboos. In order to comment on this kind of representation, this study will introduce Ian McEwan’s controversial novel The Cement Garden (1978), the story of four children who, in the middle of a particularly hot summer, find themselves orphaned. The novel narrated by fourteen-year-old Jack explores such themes as sexuality, incest, death, the struggles of coming of age, isolation, gender roles and parent-child relationships. Keywords: child, childhood, postmodern, Ian McEwan. 1 Introduction The twentieth century or the “century of the child,” as called by James and Prout (1997, 1), witnessed a great increase in the attention paid to childhood and children. Psychologist James Sully, the author of Studies of Childhood, wrote at the very end of the nineteenth century: “With the growth of a poetic or sentimental interest in childhood there has come a new and different kind of interest. Ours is a scientific age, and science has cast its inquisitive eye on the infant […] we now speak of the beginning of a careful and methodical investigation of child nature.” (1993, 4) He was right. By the 1970s psychologists, sociologists and anthropologists have offered extensive accounts on various aspects of childhood and the child. In 1960 French historian Philip Ariés published his controversial book Centuries of Childhood, in which he questioned some of the existing assumptions about the nature of childhood.
    [Show full text]
  • Enduring Love by Ian Mcewan
    Enduring Love by Ian McEwan A level Student Workbook by Gerry Ellis ~ Wessex Publications ~ CONTENTS Using the Workbook ............................................................................1 1. Ian McEwan - A brief Biography...................................................2 2. Commentary and criticism on McEwan's early work up to ‘Enduring Love’ .............................................................................4 3. 'Mother Tongue' .............................................................................8 4. A brief summary of 'Enduring Love'..............................................13 5. 'Enduring Love' - Chapter by Chapter............................................14 6. De Clerambault's syndrome and 'Enduring Love' ..........................71 7. Two interviews with Ian McEwan on 'Enduring Love'..................73 8. Criticism of 'Enduring Love' ..........................................................80 9. Themes ...........................................................................................87 10. Characters in the novel...................................................................91 11. Essay Questions..............................................................................93 Enduring Love Using the Workbook USING THE WORKBOOK This Workbook examines various aspects of ‘Enduring Love’ and you will be asked to complete Tasks on each of these as you progress through the different sections. All the Tasks are designed to help you look carefully at the novel and to come to an appreciation
    [Show full text]
  • An Official Publication of the Association of Canadian College and University Teachers of English Volume 42 Issue 3–4 Septe
    esc An official publication of the Association of Canadian College and University Teachers of English Volume 42 Issue 3–4 September/December 2016 English Studies in Canada Volume 42 Issue 3–4 September/December 2016 Readers’ Forum: Proliferation 1 Cecily Devereux Introduction: A Large Number of Something: Proliferation, Now 7 A. C. Facundo Proliferations of Omniscience 10 Jason Haslam Proliferation’s Ends 15 Maureen Engel The Space of Simultaneity 18 Rachelle Ann Tan Tinderization of the Academy 22 Linda Quirk Proliferating Ephemera in Print and Digital Media 25 Christian Bök Virtually Nontoxic Articles Vigilance, Rebellion, Ethics 27 Sarah Banting If What We Do Matters: Motives of Research in Canadian Literature Scholarship 65 Erika Behrisch Elce “Dyin’ ain’t much of a livin’ ”: The Ethics of Rebellion in The Outlaw Josey Wales Against the National Grain 81 Karina Vernon To the End of the Hyphen-Nation: Decolonizing Multiculturalism 99 Lindsay Diehl Disrupting the National Frame: A Postcolonial, Diasporic (Re)Reading of SKY Lee’s Disappearing Moon Café and Denise Chong’s The Concubine’s Children Passionate Uncertainties 119 James McAdams “I did a nice thing”: David Foster Wallace and the Gift Economy 135 Gregory Alan Phipps Breaking Down Creative Democracy: A Pragmatist Reading of Race and Gender in Nella Larsen’s Quicksand Interview 159 Caitlin McIntyre and Dana Medoro Spokesvultures for Ecological Awareness: An Interview with Timothy Morton Reviews 175 Benjamin Authers reviews Anne Quéma’s Power and Legitimacy: Law, Culture, and Literature
    [Show full text]
  • S POST-MILLENNIAL NOVELS ZDENĚK BERAN Ian Mcewan
    2016 ACTA UNIVERSITATIS CAROLINAE PAG. 123–135 PHILOLOGICA 1 / PRAGUE STUDIES IN ENGLISH METAFICTIONALITY, INTERTEXTUALITY, DISCURSIVITY: IAN MCEWAN ’ S POST-MILLENNIAL NOVELS ZDENĚK BERAN ABSTRACT In his twenty-first-century novels, Atonement, Saturday, Solar and Sweet Tooth, Ian McEwan makes ample use of narrative strategies characteris- tic of postmodernist writing, such as metafictionality, intertextuality and discursive multiplicity. This article discusses how this focus distinguish- es his recent novels from earlier ones. Thus Sweet Tooth is read as a text which includes the author ’ s attempt to revise his own shorter texts from the onset of his career in the mid-1970s. The use of parallelisms and alle- gory in McEwan ’ s 1980s novels The Child in Time and The Innocent is then contrasted with more complex strategies in Saturday and Solar. Special attention is given to the thematization of the role of discourse in Solar; it is argued that the novel is not just a satire on modern science and its corrup- tion by commercialization but also a reflection of “ontological relativism” as a product of prevailing contemporary discourse formations. Keywords: contemporary British novel; Ian McEwan; discourse; Foucault; intertextuality; metafiction Ian McEwan ’ s recent novel, Sweet Tooth (2012), reveals the author ’ s proclivity for the use of metafictional writing at its most entangled and transgressive best. After more than three successful decades on the British literary scene,1 McEwan has here offered his 1 The outstanding position of Ian McEwan as one of the most successful contemporary English writers can be documented by the many literary awards his work has received across decades: His early col- lection of short stories First Love, Last Rites (1975) won the Somerset Maugham Award in 1976.
    [Show full text]
  • A Freudian Analysis of Ian Mcewan's the Comfort of Strangers
    Trabajo Fin de Grado The Merciless Violence of the Super-Ego: A Freudian Analysis of Ian McEwan’s The Comfort of Strangers Jorge Revuelta Cabello Supervisor Prof. Susana Onega Jaén Facultad de Filosofía y Letras / Dpto. de Filología Inglesa y Alemana 2016 Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es ACKNOWLEDGEMENTS I would like to thank Prof. Susana Onega for her fullest assistance and guidance. I would also like to express my gratitude to my family for the support provided during these months, and to Blanca Roig, Javier Rodríguez and Santiago Urós for their constant encouragement and patience. CONTENTS 1. INTRODUCTION ..................................................................................................... 1 2. THE REAL NATURE OF COLIN AND MARY’S JOURNEY TO VENICE……..4 3. A FREUDIAN ANALYSIS OF ROBERT’S BEHAVIOUR .................................... 7 3.1 Childhood ...................................................................................................... 7 3.2 Sadomasochism ........................................................................................... 10 3.3 Photography and Voyeurism ....................................................................... 15 3.4 Robert’s Conscience: Sadistic Super-ego and Masochistic Ego ................. 17 3.5 The Characters’ Defensive Mechanisms ..................................................... 21 4. CONCLUSION ........................................................................................................ 22 5. WORKS CITED
    [Show full text]
  • Harold Pinter's Screenplay of Ian Mcewan's the Comfort of Strangers
    Text Matters: A Journal of Literature, Theory and Culture Number 3 Eroticism and Its Discontents Article 12 11-1-2013 Eroticism and Justice: Harold Pinter’s Screenplay of Ian McEwan’s The Comfort of Strangers Paulina Mirowska University of Łódź Follow this and additional works at: https://digijournals.uni.lodz.pl/textmatters Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Mirowska, Paulina. "Eroticism and Justice: Harold Pinter’s Screenplay of Ian McEwan’s The Comfort of Strangers." Text Matters: A Journal of Literature, Theory and Culture, no.3, 2020, pp. 171-185, doi:10.2478/ texmat-2013-0033 This Article is brought to you for free and open access by the Arts & Humanities Journals at University of Lodz Research Online. It has been accepted for inclusion in Text Matters: A Journal of Literature, Theory and Culture by an authorized editor of University of Lodz Research Online. For more information, please contact [email protected]. Text Matters, Volume 3 Number 3, 2013 10.2478/texmat-2013-0033 Paulina Mirowska University of Łódź Eroticism and Justice: Harold Pinter’s Screenplay of Ian McEwan’s The Comfort of Strangers A BSTR A CT A careful analysis of Harold Pinter’s screenplays, notably those written in the 1980s and early 1990s, renders an illustration of how the artist’s cinematic projects supplemented, and often heightened, the focus of his dramatic output, his resolute exploration of the workings of power, love and destruction at various levels of social interaction and bold revision of received values.
    [Show full text]
  • David Le Barzic Ian Mcewan Bibliographie © 2001-2003 De David Le Barzic
    David Le Barzic Ian McEwan Bibliographie © 2001-2003 de David Le Barzic LE TEXTE EWANIEN : ŒUVRES DE FICTION Les traductions françaises disponibles sont indiquées entre crochets sous l’ouvrage anglais. Romans The Cement Garden. Londres : Picador (Jonathan Cape), 1978. [Le jardin de ciment. Trad. Claire Malroux. Paris : Points Seuil, 1980.] The Comfort of Strangers. Londres : Picador (Jonathan Cape), 1981. [Etrange séduction (Un bonheur de rencontre). Trad. J. Pierre Carasso. Paris : Points Seuil, 1983.] The Child in Time. Londres : Picador (Jonathan Cape), 1987. [L’enfant volé. Trad. Josée Strawson. Paris : Folio Gallimard, 1993.] The Innocent. Londres : Picador (Jonathan Cape), 1990. [L’innocent. Trad. Jean Guiloineau. Paris : Points Seuil, 1992.] Black Dogs. Londres : Jonathan Cape, 1992. [Les chiens noirs. Trad. Suzanne V. Mayoux. Paris : Folio Gallimard, 1994.] Enduring Love. Londres : Jonathan Cape, 1997. [Délire d’amour. Trad. Suzanne V. Mayoux. Paris : Gallimard, 1999.] Amsterdam. Londres : Jonathan Cape, 1998. [Amsterdam. Trad. Suzanne V. Mayoux. Paris : Gallimard, 2001.] Atonement. Londres : Jonathan Cape, 2001. Nouvelles en recueils First Love, Last Rites. Londres : Picador (Jonathan Cape), 1975. In Between the Sheets. Londres : Picador (Pan Books/Jonathan Cape), 1978. [Sous les draps et autres nouvelles. Trad. Françoise Cartano. Paris : Folio Gallimard, 1997.] Nouvelles hors recueils “Intersection.” Tri-Quarterly 34 (aut. 1975) : 63-86. “Untitled.” Tri-Quarterly 35 (hiv. 1976) : 62-3. “Deep Sleep, Light Sleeper.” Harpers & Queen, (08/1977) : 83-6. Fiction pour enfants Rose Blanche (avec Roberto Innocenti). Londres : Jonathan Cape, 1985 (basé sur un récit de Chrisophe Gallaz). The Daydreamer. Londres : Vintage, 1994. [Le rêveur. Trad. José Strawson. Paris : Gallimard, 1999.] Pièces de télévision et dramatiques The Imitation Game : Three Plays for Television.
    [Show full text]
  • New Physics, Oíd Metaphysics: Quantum and Quotidian in Ian Mcewan's the Child in Time Derek Wright
    Revista Alicantina de Estudios Ingleses 9 (1996): 221-233 New Physics, Oíd Metaphysics: Quantum and Quotidian in Ian McEwan's The Child in Time Derek Wright ABSTRACT This article investigates McEwan's poignant figurative use of ideas from the New Physics, his testing of their availability to quotidian reality, and determines to what extent and with what results—wonder, illusion, dementia, psychosis—the protagonista behaviour is affected by a quantum mindset. An attempt is made to identify and define the kind of worldview and time-concept, physical or metaphysical, which is ultimately upheld by the novel's narrative structure and style, and to ascertain how far these are rooted in the Newtonian tradition of empirical realism which the book's theoretical discourse challenges. Time-reversal and parallel worlds theory are considered in the context of the novel's millenial-dystopian political visión. Over the last twenty-five years a number of British novelists have appropriated for figurative use selected features and concepts from the "New Science" such as quantum mechanics, parallel and alternative worlds theory, notions of subatomic contention and putative reality, and the physics of time. These popular approximations, which few physicists would approve, have resulted in novéis which juxtapose determínate and indeterminate spatial worlds (Doris Lessing's Memoirs of a Survivor, 1974), or parallel sequences of action centuries apart in time (Peter Ackroyd's Hawksmoor, 1985); a conditional, might-have-been history of dead people (Muriel Spark's The Hothouse by the East River, 1973); a reverse history of the holocaust, in which time runs backwards (Martin Amis, Time's Arrow, 1991); and a string of critical studies devoted to this school 222 Revista Alicantina de Estudios Ingleses of fiction on both sides of the Atlantic (Robert Nadeau's Readingsfrom the New Book on Nature, 1981; N.Katherine Hayles's Cosmic Web, 1984; and Susan Strehle's Fiction in the Quantum Universe, 1992).
    [Show full text]