DOCSLIB.ORG

Reading Technologies, Literary Innovation, and a New Fiction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reading Technologies, Literary Innovation, and a New Fiction Reading Technologies, Literary Innovation, and a New Fiction David Mark Hucklesby A PhD Thesis Submitted to De Montfort University November 2016 1 Contents Page Acknowledgements……………………………………………………………………………………………………………………………3 Abstract……………………………………………………………………………………………………………………………………………..4 Note on Referencing………………………………………………………………………………………………………………………….5 Chapter 1: Introduction: B.S. Johnson, Giles Gordon, and The New Fiction_____________________ 1.1 What is the ‘New Fiction’?..................................................................................................6 1.2 B.S. Johnson……………………………………………………………………………………………………………………7 1.3 Aren’t You Rather Young to be Writing Your Memoirs?....................................................11 1.4 Giles Gordon, and Beyond the Words: Eleven Writers in Search of a New Fiction………….22 1.5 The New Fiction: A Literary Group………………………………………………………………………………..26 1.5.1 Eva Figes…………………………………………………………………………………………………….28 1.5.2 Ann Quin……………………………………………………………………………………………………31 1.5.3 Alan Burns………………………………………………………………………………………………….34 1.5.4 Amongst Those Left……………………………………………………………………………………38 1.6 Summary……………………………………………………………………………………………………………………….46 Chapter 2: The New Fiction in Context__________________________________________________ 2.1 Introduction ……………………………………………………………………………………………………………….…48 2.2 The New Fiction and Modernism..…………………………………………………………………………………49 2.3 Being Realistic: Two Anthologies………………………………………………………………………………..…58 2.4 The Nouveau Roman………………………………….………………………………………………………………….67 2.5 Nathalie Sarraute, and The Age of Suspicion….………………………………………………………………73 2.6 Alain Robbe-Grillet, and For a New Novel………………………………………………………………………78 2.7 The Nouveau Roman in Britain………………………………………………………………………………………83 2.8 Summary……………………………………………………………………………………………………………………….88 Chapter 3: B.S. Johnson and The New Fiction____________________________________________ 3.1 Introduction and Critical Overview………………………………………………………………………………..90 3.2 Albert Angelo (1964)……………………………………………………………………………………………………..95 3.3 The Unfortunates (1969)…………………………………………………………………………………………….107 3.4 Summary…………………………………………………………………………………………………………………….115 2 Chapter 4: Ann Quin and The New Fiction_______________________________________________ 4.1 Introduction and Critical Overview………………………………………………………………………………116 4.2 Passages (1969)…………………………………………………………………………………………………………..124 4.3 Three (1966)………………………………………………………………………………………………………………..131 4.4 Summary…………………………………………………………………………………………………………………….141 Chapter 5: A New Fiction in the Twenty-first Century______________________________________ 5.1 Introduction………………………………………………………………………………………..………………………142 5.2 New Publications………………………………………………………………………………………………………..143 5.3 Critical Comparisons……………………………………………………………………………………………………147 5.4 Twenty-first Century Writing………………………………………………………………………………………158 5.5 Summary…………………………………………………………………………………………….………………………166 Chapter 6: Mark Z. Danielewski and The New Fiction______________________________________ 6.1 Introduction and Critical Overview………………………………………………………………………………168 6.2 House of Leaves (2000)………………………………………………………………………………………………..179 6.3 Only Revolutions (2006)………………………………………………………………………………………………190 6.4 Summary…………………………………………………………………………………………………………………….198 Chapter 7: Jonathan Safran Foer and The New Fiction______________________________________ 7.1 Introduction and Critical Overview………………………………………………………………………………200 7.2 Extremely Loud & Incredibly Close (2005)…………………………………………………………………….201 7.3 Tree of Codes (2010)……………………………………………………………………………………………………210 7.4 Summary…………………………………………………………………………………………………………………….217 Chapter 8: Conclusions_______________________________________________________________ 8.1 In Summary…………………………………………………………………………………………………………………218 8.2 A Future for The New Fiction……………………………………………………………………………………….222 9.0 Appendices……..……………………………………………………………………………………………………………………….225 10.0 Bibliography…………………………………………………………………………………………………………………………..228 3 Acknowledgements First and foremost, I would like to thank my supervisory team; Dr. Alison Gibbons, whose relentless enthusiasm and encouragement has been as integral to the completion of this project as the guidance, expertise, and thoroughness of feedback which I received from both she and Prof. Gabriel Egan. Additionally, I thank Profs Andrew Thacker, whose guidance and input were pivotal to the early shaping of this project, as well as Prof. Deborah Cartmell and Prof. Joe Phelan, whose feedback and advice proved valuable throughout its undertaking. I also thank David K. Frasier, and the rest of the Lilly Library staff at Indiana University, for their assistance in conducting archival research vital to this project. I greatly appreciate the assistance of a De Montfort University Research Studentship Bursary during my period of study. Finally, I am grateful and indebted to my family and friends throughout the past four years; special thanks to my parents, Matthew and Jane, my sister Kate, and my grandmother Margaret for their unwavering support, encouragement, and patience. 4 Abstract This thesis initially uses writing by B.S. Johnson, Giles Gordon, and contributors to Gordon’s 1975 anthology Beyond the Words: Eleven Writers in Search of a New Fiction, to construct a critical framework by which this ‘New Fiction’ may be defined. As a critical approach to contemporary writing in the late twenty-first century, The New Fiction constitutes a focused critique of formal conservatism, identifying a literary mainstream failing to learn from the innovations of Modernism and adapt writing methodology to suit the cultural situation of the novel at this time. The New Fiction proposes a range of methodological solutions to this problem, encouraging writing which engages with other media, explores solipsistic and experiential subject matter, and wilfully employs formal and linguistic unorthodoxy. Additionally, The New Fiction confounds the pervasive notion of B.S. Johnson in particular as a ‘one-man avant-garde’, identifying collaborative and communicative links between he and other innovators such as Ann Quin, Alan Burns, and Eva Figes. In doing so, the thesis provides evidence for an active and coherent literary group supported by publishers Marion Boyars and John Calder, comparable to groups such as the French nouveau roman. Neither the critical nor the contextual aspects of The New Fiction as a whole is the subject of sustained critical examination, and a primary goal of this thesis is to contribute substantially to the field in both of these areas, supported by case studies of writing by Johnson and Quin. A second aim of this thesis is to employ The New Fiction’s critical framework, considering the return of several New Fiction writers to mainstream publication in the twenty-first century. New editions, and a new wave of criticism, provide an opportunity to investigate the potential application of The New Fiction as more than simply a historical case study of the avant-garde novel. The latter part of this thesis draws connections between The New Fiction and more recent criticism, examining the critical trajectories which connect Johnson, Gordon, and their collaborators to other critics concerned with literary innovation, and the novel’s relationship with new media. This examination is supported by way of direct comparison to twenty-first century American writers, making new critical readings identifying the presence of methodological and ideological similarities in the writing of Mark Z. Danielewski and Jonathan Safran Foer. Ultimately, this thesis argues that The New Fiction continues to provide a valid critique of contemporary writing alongside valuable historical context, in the reading of innovative twenty-first century works. 5 Note on Referencing Several of the works of fiction referred to throughout this thesis make use of a wide range of visual devices. Where an accurate impression of such devices is crucial to the discussion, they have been represented in the form of photo-quotations, and are intended as textual references to the specified works. Additionally, several of the selected works extend their unorthodox treatment of form to other apparatus including page and chapter numeration, titling, footnoting, and illustration. Efforts have been made to devise a method of referencing specific extracts such texts in as sympathetic a manner as possible to the author’s design. B.S. Johnson’s The Unfortunates (1969) is presented in the form of twenty-seven unbound chapters of varying lengths, each untitled, and each bearing its own separate page numeration in place of the more typical cumulative page numeration for the book as a whole. The 1999 New Directions edition of The Unfortunates assigns each individual chapter an identifying symbol. To ensure accuracy and simplicity, this use of symbols has been incorporated into this thesis’ referencing. Corresponding symbols are therefore employed in place of chapter titles, using the following format: B.S. Johnson, The Unfortunates, p. 1 (London: New Directions, 1999) Mark Z. Danielewski’s Only Revolutions (2006) contains two distinct narratives, each with a unique narrator, printed inverted and horizontally opposite one another on each page. As such, each page of the novel bears two sets of page numeration, dependant on the narrator whose text faces the reader. Again to ensure accuracy and simplicity, page references for this text are given alongside the initial of the narrator (‘S’ for Sam, and ‘H’ for Hailey) to whom each
Load more

Recommended publications
  • Liminality, Marginality and Narrative Mode in David Belbin's Fiction
    What We Don’t Know: Liminality, Marginality and Narrative Mode in David Belbin’s Fiction DAVID LAWRENCE BELBIN A thesis submitted in partial fulfilment of the requirements of Nottingham Trent University for the degree of Doctor of Philosophy March 2016 1 I certify that all of the following material is my own work and the essay consists of original work undertaken solely for the purposes of this PhD. This work is the intellectual property of the owner. You may copy up to 5% of this work for private study, or personal, non-commercial research. Any re- use of the information contained within this document must be fully referenced, quoting the author, title, university, degree level and pagination. Queries or requests for any other use, or if a more substantial copy is required, should be directed to the owner of the intellectual property rights. 2 ABSTRACT This thesis consists of a selection of my published work from 1989-2015, accompanied by an essay and a bibliography. The essay looks at the ways in which I am drawn towards marginal and liminal zones within fiction, including the areas between Young Adult (YA) and Adult fiction, crime fiction and literary fiction, and that between depicting reality and fictionalising it. I also consider the use of narrative mode in defining these liminal areas. By ‘liminal’, I mean occupying a position at, or on both sides of a boundary or threshold, rather than the word’s other, looser sense, where it means ‘vague’. The examples of fiction selected are intended to display the range of my published work since joining Nottingham Trent University.
    [Show full text]
  • Redgrove Papers: Letters
    Redgrove Papers: letters Archive Date Sent To Sent By Item Description Ref. No. Noel Peter Answer to Kantaris' letter (page 365) offering back-up from scientific references for where his information came 1 . 01 27/07/1983 Kantaris Redgrove from - this letter is pasted into Notebook one, Ref No 1, on page 365. Peter Letter offering some book references in connection with dream, mesmerism, and the Unconscious - this letter is 1 . 01 07/09/1983 John Beer Redgrove pasted into Notebook one, Ref No 1, on page 380. Letter thanking him for a review in the Times (entitled 'Rhetoric, Vision, and Toes' - Nye reviews Robert Lowell's Robert Peter 'Life Studies', Peter Redgrove's 'The Man Named East', and Gavin Ewart's 'The Young Pobbles Guide To His Toes', 1 . 01 11/05/1985 Nye Redgrove Times, 25th April 1985, p. 11); discusses weather-sensitivity, and mentions John Layard. This letter is pasted into Notebook one, Ref No 1, on page 373. Extract of a letter to Latham, discussing background work on 'The Black Goddess', making reference to masers, John Peter 1 . 01 16/05/1985 pheromones, and field measurements in a disco - this letter is pasted into Notebook one, Ref No 1, on page 229 Latham Redgrove (see 73 . 01 record). John Peter Same as letter on page 229 but with six and a half extra lines showing - this letter is pasted into Notebook one, Ref 1 . 01 16/05/1985 Latham Redgrove No 1, on page 263 (this is actually the complete letter without Redgrove's signature - see 73 .
    [Show full text]
  • Orwell George
    The Collected Essays, Journalism and Letters of George Orwell Volume II: My Country Right or Left 1940-1943 by George Orwell Edited by Sonia Orwell and Ian Angus a.b.e-book v3.0 / Notes at EOF Back Cover: "He was a man, like Lawrence, whose personality shines out in everything he said or wrote." -- Cyril Connolly George Orwell requested in his will that no biography of him should be written. This collection of essays, reviews, articles, and letters which he wrote between the ages of seventeen and forty-six (when he died) is arranged in chronological order. The four volumes provide at once a wonderfully intimate impression of, and a "splendid monument" to, one of the most honest and individual writers of this century -- a man who forged a unique literary manner from the process of thinking aloud, who possessed an unerring gift for going straight to the point, and who elevated political writing to an art. The second volume principally covers the two years when George Orwell worked as a Talks Assistant (and later Producer) in the Indian section of the B.B.C. At the same time he was writing for Horizon, New Statesman and other periodicals. His war-time diaries are included here. Penguin Books Ltd, Harmondsworth, Middlesex, England Penguin Books Australia Ltd, Ringwood, Victoria, Australia First published in England by Seeker & Warburg 1968 Published in Penguin Books 1970 Reprinted 1971 Copyright © Sonia Brownell Orwell, 1968 Made and printed in Great Britain by Hazell Watson & Viney Ltd, Aylesbury, Bucks Set in Linotype Times This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher's prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser Contents Acknowledgements A Note on the Editing 1940 1.
    [Show full text]
  • Contextualising British Experimental Novelists in the Long Sixties
    Contextualising British Experimental Novelists in the Long Sixties Joseph Andrew Darlington School of Arts and Media University of Salford, UK Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy, January 2014 Contents Acknowledgements………………………………………………………………………………… ……………………4 Abstract……………………………………………………………………………………………… ……………………….5 Introduction…………………………………………………………………………………………… ……………………6 Chapter 1: The Experimental Writers and The Sixties 1.1: “White Heat”: The Scientific Sixties 1.1.1: “Experimental Literature?”…………………………………………………………………..14 1.1.2: Science and the Sixties………………………………………………………………………….20 1.1.3: Groupings, Movements, Contemporaries……………………………………………..24 1.1.4: Against the Nineteenth Century Novel………………………………………………….28 1.1.5: The Technological Context……………………………………………………..…………….32 1.1.6: “The Establishment”……………………………………………………………………….…….37 1.2: The Experimental Novelist in Context 1.2.1: Post-war Prosperity……………………………………………………………..……………….42 1.2.2: Calder and Better Books…………………………………………………..…………………..47 1.2.3: The Widening World of Education…………………………………….………………….51 1.2.4: Writers and the BBC……………………………………………………..……………………..55 1.2.5: The Arts Council……………………………………………………….……….………………….59 1.2.6: Public Politics and Pay Disputes…………………………………………..…….…………63 1.2.7: Feminism: A Revolution in Progress………………………………..…..…….…………67 1.2.8: Anthony Burgess: A Case Study in Influence………………………..…….…………71 1.3: The Death of Keynesianism 1.3.1: Keynsianism versus Neoliberalism……………………………………….….…………..75
    [Show full text]
  • The Third Programme a Literary History
    The Third Programme A Literary History KATE WHITEHEAD CLARENDON PRESS OXFORD 1787 Oxford Uniirrsify Press, lYblton Street, Oxford 0x2 ~DP Oxjord New lbrk Toronto I>elhi Bonr1)ay Calcutta hfadras Karachi Acknowledgements Petaling Jaya .Tingapore Hong Kong Tokyo Nairobi Var es .Sa/aant Cape ?bwn Melbourne Auckland and associated companies in I would like to thank the following people for their kind Bzrlin Ibadan assistance during my research: the late Douglas Cleverdon and Oxford is a trade mark of Oxford Uniuersifj Press John Lehmann, Patric Dickinson, Harman Grisewood, Professor Peter Laslett, Ludovic Kennedy, Ian MacIntyre, Leonard Miall, Published in the United .States P. H. Newby, Piers Plowright, Harry Ritchie, Rosaly Roffman. Iy Oxfork Uniuersify Press, U.TA Dr Michael Weaver supervised the thesis on which this mono- 0 Kate Whitehead 1989 graph is based, and was helpful and enthusiastic throughout. The staff at the BBC Written Archives Centre provided . All rights reserved. No part of this publication nray be reproduced, stored in a retrieval system, or transnritted, in any form or by any means, invaluable assistance during three years' regular attendance and rlectronic, mechanical, photocopying, recording, or otherwise, without enquiry. I must also thank the staff of the Society of Authors, the the prior permission of Oxford Uniuersio Press National Sound Archive, and the Bodleian and Christ Church British Library Cataloguing in Publication Data Libraries for all their help. The Department of Education and W'hitehead, Kate. Science was generous in providing me with special travel grants The Third Progranrnre: a literary histov. and allowances, as was Christ Church and the English Faculty of - (Oxford English monographs).
    [Show full text]
  • 'The Immensity of Confrontable Selves': the 'Split Subject'and Multiple Identities in the Experimental Novels of Christine Brooke-Rose Stephanie Jones
    ‘THE IMMENSITY OF CONFRONTABLE SELVES’: THE ‘SPLIT SUBJECT’ AND MULTIPLE IDENTITIES IN THE EXPERIMENTAL NOVELS OF CHRISTINE BROOKE-ROSE STEPHANIE JONES ABERYSTWYTH UNIVERSITY 01/03/2016 ACKNOWLEDGEMENTS I would like to extend my deepest thanks to my supervisor Professor Tim Woods, who has shown constant, unwavering support for the project, and read it multiple times with uncommon care. I would also like to thank Professor Peter Barry whose comments on my written work and presentations have always inspired much considered thought. I am extremely grateful to Dr. Luke Thurston for his translation of the letters between Hélène Cixous and Christine Brooke-Rose from the French. I am also greatly indebted to Dr. Will Slocombe whose bravery in teaching Brooke-Rose’s fiction should be held directly responsible for the inspiration for this project. I should also like to extend my thanks to my fellow colleagues in the English and Creative Writing department at Aberystwyth University. I am also deeply indebted to the Harry Ransom Centre of Research, the location of the Christine Brooke-Rose archive, and the John Rylands Library that holds the Carcanet archive, and all the staff that work in both institutions. Their guidance in the archives and support for the project has been deeply valued. Special thanks go to Michael Schmidt OBE for allowing me to access the Carcanet archive and Jean Michel Rabaté and Ali Smith for their encouragement throughout my studies of Christine Brooke-Rose, and their contributions to the project. For my family LIST OF ABBREVIATIONS These abbreviations will appear embedded within the text in parentheses, with page numbers.
    [Show full text]
  • From Wigan Pier to Airstrip One
    From Wigan Pier to Airstrip One: A Critical Evaluation of George Orwell’s Writing and Politics post-September 11 Submitted for the Degree of Doctor of Philosophy by David L Urry School of Media, Communication and Culture Murdoch University 2005 Declaration I declare that this thesis is my own account of my research and contains as its main content work that has not previously been submitted for a degree at any tertiary education institution. 30/03/2005 David L. Urry 1 Acknowledgements This thesis was written under the auspices of Associate Professor Tara Brabazon. I am grateful too for additional support from Professor Steve Redhead, my family and friends, and postgraduate colleagues. Thanks to everyone concerned. 2 Eric Arthur Blair GEORGE ORWELL Figure 1 3 Abstract This thesis summons a contemporary reading of George Orwell, evaluating his current role and function as novelist, essayist, and twentieth century cultural icon. The year 2003 marked the centenary of Eric Blair’s birth and proved a productive year for Blair (and Orwell) enthusiasts. After nearly three years of research, my journey through Orwell’s words and world(s) has undergone significant re-evaluation, taking me far beyond such an appropriate commemoration. In the tragic aftermath of 9/11 ― through Afghanistan and Iraq, Bali, Madrid, and London ― Orwell’s grimly dystopian vision acquires renewed significance for a new generation. Few writers (living or dead) are as enduringly newsworthy and malleable as George Orwell. The scope and diversity of his work ― the sheer volume of his letters, essays, and assorted journalism ― elicits a response from academics, journalists, critics and readers.
    [Show full text]
  • Robert Nye Manuscripts
    Edinburgh University Library Department of Special Collections: Handlist H54. ROBERT NYE MANUSCRIPTS MSS 2881-2916, 2938-40, 3122-3123 MS 2881-3: Merlin (published Hamish Hamilton, 1978, Putnam 1978). (See also MS 2914) MS 2881 .1 Author’s autograph working notes, etc. .2 Rough draft version. 200 folio pages with autograph corrections. .3 Draft of Book 1 (18 chapters) on 112 pages folio, typescript with autograph corrections. Opening of Book 2. .4 Drafts relating to Books 2-4. MS 2882 .1 Copy-text: typescript worksheets with authors annotations. 405 pages. .2 Copy-text: typescript worksheets. .3 The Gold Book. Corrected ts. .4 Photocopies of source material. MS 2883 .1 Copy-text: typescript worksheets. .2-.5 Proofs. Variously corrected. 3 copies of a poster for the book, and 2 suggestions for a cover design. MSS 2884-2886: Faust. (Published Hamish Hamilton 1981, Putnam 1981) MS 2884 Notebooks, notes and heavily corrected tss. MS 2885 Heavily corrected tss and uncorrected tss. MS 2886 Uncorrected tss, photocopies of source material, and copy of printed book, cannibalised & with alterations for NY edition. Facsimile of same used by printers. MSS 2887-2889: The Voyage of the Destiny. (Published Hamish Hamilton 1982, Putnam 1982) MS 2887-8 Heavily-corrected tss. MS 2889 Photocopied tss, page proofs, with author’s corrections, and photocopies of source material, with 3 notebooks containing ms notes, and a suggestion for the cover of the published work. MS 2890 .1 Box containing all working mss., holograph notes, manuscripts and typescripts- heavily corrected and reworked for Nye’s novel The Memoirs of Lord Byron (Hamish Hamilton, 1989).
    [Show full text]
  • The European History of English Studies
    The European English Messenger, 22.1 (2013) right in front of Dickens’s House too. And it was a big bomb. And it was a big bus. And it was a big crowd. And it was a very big explosion. But the remarkable thing is that never in similar situations had surgeons started operating so quickly on the wounded as in that particular case. And the reason was simple, so very simple: The British Medical Association in the Dickens House possessed an operation table, and everything that goes with it, and it was wheeled out into the middle of the street, and surgeons started operating there and then on the many wounded within less than minutes, right there, in the middle of the street, right next to the badly damaged bus, desperately trying to see how many lives they could still save. The British courage and stiff upper lip was omnipresent. The way Charles Dickens had always wanted it to be. The Dickens optimism is all-pervasive. The European History of English Studies The history of ‘English’ in Europe is relatively short and of great complexity. It is a history full of ideological and political conflict, both nationally and internationally. This collection gives a survey of English as an academic discipline in Europe. It offers essays on the history of English studies in various countries, deals with issues cutting across national borders and, in the final essay, highlights common features. European English Studies: Contributions towards the History of a Discipline, ed. Balz Engler and Renate Haas. Leicester: The English Association, for ESSE, 2000.
    [Show full text]
  • Critical Studies 562 ______
    Critical Studies 562 ________________________________________________________________________________ John Ulbricht, Portrait of Robert Graves (1968) Image courtesy the Poetry Collection of the University Libraries, University at Buffalo, The State University of New York. Critical Studies 563 ________________________________________________________________________________ Versions of Robert Graves Dunstan Ward I first encountered poems by Robert Graves in Kenneth Allott’s 1950 Penguin Book of Contemporary Verse, like Michael Longley, who quotes Allott in the introduction to his Faber selected Graves: ‘The poetry of Robert Graves is in some ways the purest poetry produced in our time’.1 I was seventeen, in my last year at school in New Zealand, when I read this assessment. Allott also predicts: ‘The bibliography of his poems is sure to provide headaches for future scholars’ (p. 109). My own headaches, both physical and figurative, started thirty years later, when Beryl Graves and I began work on what eventually became the three-volume Carcanet edition of the Complete Poems, and the Penguin Classics edition.2 Sometimes I almost wished we’d heeded the warning in one of the poems chosen by Allott, ‘Children, leave the string alone!’, and not opened those ‘neat brown paper parcels’ of first editions in the chest in Graves’s study at Deyá . The Allott text, though, still reads as in Poems 1929: ‘leave the string untied’. The contradiction was finally detected by Graves’s assistant Karl Goldschmidt, and the line emended in Collected Poems 1959: this was to be duly recorded in a note in Complete Poems, Volume II. In ‘The Thieves’ Allott has silently corrected another mistake, ‘meum-teum’ instead of ‘meum-tuum’.
    [Show full text]
  • Best Lists of Iicontemporary" Fiction
    BEST LISTS OF IICONTEMPORARY" FICTION In 1~83 the distinguished British novelist and provocateur, Al1thonyBurgcss, decided to issue a list of thp 99 Best Novels in English since WW H. Prc-sumablytht, hundredth slot was available for his readers to add one of his own. IA· :,i1e thisis all merely parlor games on a slightly higher level than "Trivial Ptlrsuit" or "Jcop~rdy", such '~oing~-on do providp somp provocative rcading lists for English Majors and/or people who love to read fiction. So herc arc BurgL'Ss' choices followed by the choices of the CSUS profossors teaching contemporary fiction on a regular basis since thpy were hired. ANTHONY BURGESS· 1939: Party Going by Henry Green. After Many a Summer Dies the Swan by Aldous Huxley. Finnegan's Wake by James Joyce. At Swim-Two-Birds byFlann O'Brien. 1940: The Power & The Glory byGraham Greene.'For Whcml The Bell Tollsby Ernest Hemingway. STRANGERS & BROTHERS(a series of novels to 1970) bye. P. Snow. 1941: The Aerodrome by Rex Wainer. 1944: The Horse's Mouth by Joyce Cary. The Razor's Edge by W. Somerset Maugham 1945.: Brideshead Revisited by Evelyn Waugh 1946: Titus Groan by Mervyn Peake 1947: The Victim by Saul Bellow. Under the \Iolcanoby MalcolmLowry 1948: The Heart of the Matter by Graham Greene. The Naked and the Dead by . Norman Mailer. No Highway by Nevil Shute . 1949:The Heat ofthe Day by Elizabeth Bowen, Ape and Essence by Aldous Huxley, 1984 by George OrwelL The Body by William Sansom' 1950: Scenes From Provincial q{e by William Cooper.
    [Show full text]
  • Eva Figes' Writings
    Eva Figes’ Writings Eva Figes’ Writings: A Journey through Trauma By Silvia Pellicer-Ortin Eva Figes’ Writings: A Journey through Trauma By Silvia Pellicer-Ortin This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Silvia Pellicer-Ortin All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8062-0 ISBN (13): 978-1-4438-8062-6 TABLE OF CONTENTS Acknowledgements .................................................................................... vi Introduction ................................................................................................. 1 Chapter One ............................................................................................... 10 Trauma Studies, Literature and Healing Chapter Two .............................................................................................. 54 Eva Figes’ World Chapter Three ............................................................................................ 85 Eva Figes’ Literary Production Chapter Four ............................................................................................ 102 The Acting out of Trauma: Journeys to
    [Show full text]