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Full Description
The Postmodernist novel has become famous for the extremes of its narcissistic involvement with language. In this challenging and wide-ranging new study, Andri Brink argues that this self-consciousness has been a characteristic of the novel since its earliest stirrings. More specifically, every novel appears both to construct, and to be constructed by, its own notion of language, elaborated through all the strategies of narrative. Taking as his starting point 'the propensity for story' embedded in language, he offers stimulating new readings of novels from Cervantes to Calvino, demonstrating that in many respects the old familiar texts may be more startlingly modern, and the Postmodernist texts more firmly rooted in convention, than we tend to think.
Contents
Introduction: Languages of the Novel - The Wrong Side of the Tapestry. Miguel de Cervantes: Don Quixote de la Mancha - Courtly Love, Private Anguish. Madame de la Fayette: La Princesse de Cleves - 'The Woman's Snare'. Daniel Defoe: Moll Flanders - The Dialogic Pact. Denis Diderot: Jacques le Fataliste et Son Maitre - Charades. Jane Austen: Emma - The Language of Scandal. Gustave Flaubert: Madame Bovary - Translated into Slang. George Eliot: Middlemarch - The Revenge of the Tiger. Thomas Mann: Death in Venice - A Room Without a View. Franz Kafka: The Trial - The Perfect Crime. Alain Robbe-Grillet: Le Voyeur - Making and Unmaking. Gabriel Garcia Marquez: A Hundred Years of Solitude - Withdrawal and Return. Margaret Atwood: Surfacing - Taking the Gap. Milan Kundera: The Unbearable Lightness of Being - Possessed by Language. A.S. Byatt: Possession - The Pranks of Hermes. Italo Calvino: If on a Winter's Night a Traveller - Notes - Bibliography - Index
