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Vlad

CON:I'ENTS

INTRODUCTION...........

......

.........9

-autl.rors,

Authors,

scriptors,

rcaders

-Identity

as

narativc-and-transaction

involving writcrs

and

readers

-Selfand

subject,

characier,

rcader

and writer

-Authorirl

idcntily.

intcrtcrlualily.

hybr

idily

Chapter I

...............

...

...................19

A PORTRAIl'

OT 1'I II]

AT]TtIOR

AS

DIALOGIC

ARTTS'I:

DAVID

LODGtI

AND'Itttt

N,tttTAMORPl

IOSTIS

OF

CAMpiJS

FIC'IION

The

Lodger,Braclbury

rvr.itcrly

lodge (or

nichc)

-A

halbinger

of

things

to

colnc:

77rc

British

i4useum

is lta ing

I)r.'y,rt

-Al

llt,:

cr,rs.t,'trdi

hgt\\'(.(

lt

r,.llis1,

anrl

nrctlficli.,

-lironr

either

...

ot'... t()

both...

and...:

Changing

place.s

lcxtu;rlitl

J\ tn)llric

lurrtinc(:

Sttt,tll

14orll

-Widerrirrg

the

gyrc

or

narlou,ing

ill

Nice

Work

Chapte r

2 ...................

... .

.. ...

.

.

.

. ..

.

.5l

MAI.,COLM

BITAI)BUIIY

ANI)

1'ItE

PO

MO

DISCUISES

OF

I,It]IJItAL

HUMANISM

-Florv

lar

did tsradbury

go?

-The

dilenrrnas

of

Iibelal

huntanisnr:

Lating

l)eople

Is

l,yrong

-Marxism

vs. liheial

lrirnralisnr

in

The LIi.storv

Mon

-1ltr'pou.r

ol

uortl

.

arrd

idcnl,rFi..,:

R{//,.r

o/

l;s,.lt,rtry,.

-I'laying

rvith

-l'hatchcr's

hard

lacts

anrj

Mcllale,s

,,ontoiogical

uncerlainty":

(irls

-'I'lre

LrLkacs

of

thc

Nineties: Doc:tor

Crintintlt:

E

I

t

5


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fi

5

i

l

I ntroditction

Bibliography

Chapter

8

..

..

.

.. .

i|.lly:11

ro

rraounru

iua

os;ig,

ij;

...............24s

POSTSTRUCTUR

AIISr

r, i

E

M

E-;cE,'rid

;;

i,i,i?'-i[l;

$liilji$I*R,

oR,

rHE

-In^:

I":rt

au.rhor

sraning

as

hn

Macabre

-A

step

towards

a

broadeiso"

-lT:'

g

*"

o*;j",,,,#.#,,".

?fi

; l

?ff

"

n

t

G

a

rde

n

-

oi1,:,

rlr,,

world,.aduiriy

observed,.:

The

tnnocent

o?'r1r"r

'ortt

dealing

with

biography

*i'ii,J

,r,ra"*,

or

,h.

-I\,fercy

killer(s);

A

nts

rcrdam

-t-or

the

time

being-

Atonement

coronat

opus

INTRODUCTION

authors,

Authors,

scriptors,

rcaders

Authorship

and

ltlentity

in Contemporary,

_Firliori

explores

the

work

of

eight

Britisl.r

novelists

of what

is

commonly

ialled

the

postmodem

age,

a

period

rvhose

birth

certificate

might

be

seen

to

coincide

with

Roland

Barthes,s

proclamation

uf

...

..tir"

death

.of the

author"(1968).

Regrctfully,

two

of

the

eight

writers are

no

longer

alive

(Angela

Carter

and

Malcolm

Bradbury),

but

all

eight

olthem

are

still

very

powerful

authors,

ifnot

Authors.

The

introductory

section

aims

at

sketching

the

conceptual

framework

in

which

two

key

terms

_

authJr

and

identity

-

are

woven.

It

draws

attention

to

some

significant

literary

and

cultural

developments

that

have

affected

the

way

writing

and

reading

as

discursive

practices

have

been

performed^

in

what

optimistic people

will

preler

to

call,

avoiding

funerary

language,

the

Booker

priie

age

(whose

beginning

-

1969 -

roughly

coincides

with

the

pubiicaiion

of

Barthes's

above-mentioned

essay).

Belore

the

French

anti-author

came

up with

his

influential

1968

essay,

another

polemical

text

haj

chailenged

the

function

of

the

author

(.,Author,.),

Wimsatt

and

Beardsley,s

"The

Intentional Fallacy"(1946).

The

tll.o

cnrics

dismissed

...............

..29s


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11/130

David

Lodge

Chapter

1

A

PORTRAIT

OF

I'HE

AUT}IOR

AS

DIALOCIC

ARTIST:

DAVID LODGE

AND

THE

METANIORPHOSES

OF

CAIIPUS

FICTION

The

Lodge-Bradbury

writerly

lodge

(or

niche)

It is cuslomary

nowadays

lor

established

novelists

to teach

creative writing

in

universities,

a

trend started

after

World

War

II

in America.

From

1960

until

1987,

David

Lodge

combined

fiction

writing

with

an academic

career

(lecturer

in

English in

1960,

then

Professor

of

Modern

English

Literature

at

Birmingham

University

from

1976)

during which

he

taught

literature

and wrote

literary

criticism;

he

didn,t

teach creative

writing.

He

did

have

a way

of

teaching

writing,

though.

His

novels,

like

his

criticism,

explore

the

nature,

mechanisms

and

conventions

of

fiction

in

challenging

and entertaining

ways.

His

work

is

marked

by

the

influence

of Bakhtin's

dialogic

vision

of

the

language

of fiction,

by

structuralist

and

poststructuralist

views

on literature,

meaning

and

the

death

or

survival

of

the

author

as

the

authoritative

originator

of

meaning,

as well

as

by distinct

socio-cultilral

developments

in

post-war

Britain,

in

the

U.S.

and

in

the

world

at large.

_

There

is

also

one

particular

friendship

that

appears

tohave

played an important

part

in

the

shaping

of his

inaividual

artistic

identity

at the

time

of

the

de-centered

self

and

of the

t9


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Fay

Weldon

Chapter

3

FRIENDLY

(AND

LESS

FRIENDLY)

FIRE IN THE

BATTLE

OF

THE

SEXES:

FAY }\,ELDON

Fay-minism, feminism

and

postmodrnism

Fay Weldon

emerged

as a significant writer

at

the

time

feminism

was gaining

ground

in

the

postwar years,

more

specifically

in

the

late

1960s,

and

she has

had a very

special

relationship

with

it,

showing

the

various

"subject-positions"

she

has

assumed

both

in

her

life

as a

woman

and

in

her

literary

career.

Simone

de Beauvoir's

Le

Deuxieme

Sexe

(1949)

had

become

a relerence

text

in the

critique

of

the roles forced

on

women

by

society,

on

the

cultural

constructions

of

identity

women

had

to

make

do with.

Woman,

irrespective of

race

and

class

had

been

seen

as

the

Other

in

relation

to

whom rational

man

used

to

define

himself.

Betty

Friedan'

s The

Feminine Mystique

(

1963)

debunked

the

m1,th

of

suburban

female

domestic

bliss

in

post-

war

affluent

America,

whose

less harsh rhetoric

is

bound

to

have

led

to Weldon's

devastating

fictional

blows

in The

Life

and

Loves

ofa

She-Devil.

One

of

the

important

polemical

texts

of

the time

was

Kate

Miltet's

Sexual

politics

(1970),

in which

the

author


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Angcla

Cartc.


42/130

Chapter

4

THE

ANGEL(a)

IN

THE

POSTMODERN

HoUSE:

CARTER'S

DISRUPTIVE

FICTION

The

challenges

of

feminism,

the

realism

carnivalesquc

and

rnagica

Angela Carter

is

still

(despite

an

early

death

in

1992,

at

the age

of 52)

one

of

the

British

writers

most

actively

invoived

in

the

reconsideration

of

authorship

and

ol tr.aditional

cultural

codes

and

discourses,

as

one

of

the

most

prominent

authors

of

"writerly

texts",

to

use

Barthes,s

phrase.

paradoxically,

she

is a

very

strong_

figure,

vcry

much

alivc,

of

the

age

that

Barthes

blesses

with

another

famous

phrasc,

,.of

the

death

of the

author".

She

is

also

the

most prominent

lemale

author

in

Britain

not.to

have

received.

or

noi

having

becn

shortlisted

for,

the prestrgrous

Booker

prize,

probably

as

a

result

of a

certain

prevalllng

masculinist

bias

in

the

critical

circles

olthe

age.

In

his

1968

essay,

Barthes

invites

readers

to"engage

wrth

writerly

texts

and

be instrumenlal

in

thc prodLrction

of a

plurality

of

meanings;

the

undecidability

oi

rv.iinf

ir^

u

fundamental

dimension

of

narration,

not

a'weakness:

.ieveral

codes

and

several

voices

are

there,

without

priority.

Writlnf

is

precisely

this

loss

of

origin,

this

loss

of

.motives,

to

tt

"

pr"ont

117


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Authorship

and

Idcntit)

in Contcmporary

I;iction

they

u.ill

have

learnt

that

beautiful

is as bea ilul does,

that

you

imagine

and

make

y'oursclf',

rathcr than

you

are, a

father,

Cirrhanr Srvift


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mother,

male

or

femalc child, an

authorial

rcader

or

an

ar,rthorial

daughter.

152

153

Chapter

5

SMALL

PEOPLE, THE

}IAGIC

OF THE

ORDINARY

ANI)

THE

MYS'IERIES

OF HISTORY:

GRAHAM

SWIFT

From

"mimetic

representation" to

"performative

historiography"

Graham

Swift's

literary

career has

already

spanned a

qulrter

of

a

century,

since the

publication

of

his

first

novel,

Thc

Swee -

Shop

Owner

(1980).

tt

came

as

the natural

continuation ofthe

earlier

fomrative

years

of

a

bright

suburban

boy,

the

sou

of a

civil

servant. Graham

Srvift,

those

who

have

read

ll'aterlttnd

and

who

have

been

impressed

by

the

author's

thorough

knorvledge

of the Fens

rvill

be

surprised

to find out,

rvas

born

in

1949 in Catford,

South

Lontlon,

attendcd

a

good

public

school

bcforc hc

went

10 Canibridge,

where

he

read English

(he

graduated

in 1970). Norv

the

surprisc

is

somewhat

dispclled:

the

Fens, the haunting

setting

in Ll'aterland,

lie

east

ol

Cambridge.

It is

also

significant

that the

setting for

his

most

highly

critically

acclairncd

lasl

Orders

is

South

London.

Swilt's

ultimate recognition

as

the

worthy

recipient

of

the 1996 Booker Prize for Last

Orders is

the

culmination

of c

creative

journey

whose

landmarks are such

novels

as

Waterland

and Ever After,

where

the recuperation

of

liistc\ry

in

various,

sometimes contradictory

forms,

features

prominently.

However,

history

and realism

in thc

trlo

novels

arc

ratiter

the


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Aullrorship

aitd

rvrrir

hrs

d.rir3/rrcr

wi

I

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srvift

jl).

1,

,"li:,

.rt,e

way

i

rcmerrbcr

ir.

or

rarher.

r,.

u,

,drrer.


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orthe

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rvrarcorm

lrnds

unduly

r

ro*rrilllt'*''g

novcl

whrch

David

In its

conciseness,

its

sco

e\perence,

rri.i.ri.'

"ra"il;?,id.

Iti

inlcstarron

of

cha.crcr.

tto:ta

b

,

,.,nur1r111_'nltllecturl

concems.

our

of

rhi.s

undenated

novel.,-

pertonnanc(,

a

quire

unjustly

This

may

be

due

to

the

tact

th

broughr

togerhcr

;

;;;;J

;,:'j

:i:hi:

Swirr

has

inrensivery

and

tha.r

hI

p*""ri.s'ir,..Jj,',t-t'lit

t]11'

he

firrds

imponanr.

havc

taken

ror.,r,ine"u*uu

;:,.

i.lnt

lj le

.of

these

idea.

may

represenrs

r,rn,r,

.*i.rl"J.l'?:

]l,"

viv.idness

of

rhe

way

he

particular

book.

tn

a

novelistic

manner

in

this

r""i"-ltt"

u

tu"'..,

Ever

Aifter

ffi:.f;I'ffi;'.:e;:i:

ji"ii:^:*

in

Ever

Arter

As

David

atcotm

i"".ii,,.1

)i-:l:,:.n,

rn

Ever

Arter.

As

David

studv

and

hisroricai

;.;o,t';^,;:r",:ltPusrovel,

psychotogicat

il?;,i"1,:H""1r=;iilitl;1;H:::'T;:';,t:Ti'jl:[1j

992

novel

,rgg.i,.

"'ro.l,ri"-ll:

t

'The

title

of

Sw]ft's

''Drv.t.ot-.

rl[liz


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Kazuo

Ishiguro


77/130

Chapter

6

N'IIS-REMEIiIBRANCE

OF

I,HINGS

PAS'f :

ISHIGURO'S

NOVELISTIC

METAPHORS

KAZUO

from

antimodcrnism

to

postcolon

iali\m

In

his

brief

survey

of

contemporary

novels

engaging

with the

challenges

of

history,

Del

Ivan

Janik

lists

nov-eli

b"y

Graham

Swift.

Ackroyd

and

Ishiguro,

which,

he

says,

icature

..a

IoregroundlnE

of

the

historical

consciousness,

most often

through

a dual

or

even

multiple

focus

on thc

fictional

present

and

onc

or

more

crucial

..past;...1

,

_

However,

although

acknorvledging

Hutchcon,s

theory

about

"historiographic

metafi

ction,,

as"a

"defi

ning

postmodern

genre

having

a

special

relationship

*ith

.ep..si,.,trtions

and

constructio.ns

of

history,

Janik

does

not find

Autcheon,s phrase

ol

use

in

discussions

ofsuch

noveli:ts

as

lshiguro.

Follou.ing

Lodge's

definitions,

he

sees

Ishiguro's

The

Reriains

of

the Da1,

as

"essentially

antimodemist,

almost

classical

in

its

iealism,,.2

I

hls

rs

due

to

its

realism,

its

insistence

on meaning

over

language.

a

very

debatable statement.

.

Isbiguro

will

play

subtle

games

with

language

and

with

the

constructedness,

cultural

and

linguistic,

of

the

bitler in lie

Remains

of

the

Day,

Stevens

obviously

being

s".., us

a

typical

I

De-l

Ivan

Janik.

"No

End

of

History:

Evidence

from

the

Contemporrry

*t):,t

|l;''t

rwentieth

centtrry

Literature

vol.4t,2'

199s, p;

i; i:

t87


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Arrthorship

and

I.lentity

in

Contcmporary

fiction

1nd

not

the

origin,

of

sisnifiers

circulating

in

the

syrnbolic

,rtterr

that

plagiarism

has"

to

be

..."r;;;;;"j';;;."i"i-l'"a,

rvithin

thc

lrame

work

oi-

intensivc

lntc,fe*trality,

p".Jr'rrd

p.)trchd. lrr.

rcmain>

an

Ackroyd

*h"

;-;,;;;.l;i;;i""

himself,

in

spitc

of

the

,r.""rriu"

fi.tior"f

l"*_"qrir"#Jl,

.

orld

l.rn

\lcirr',an

Chaptcr

8


108/130

of

differcnces,

rather

than

clear_cut

";;;i;;;r"",

ssences.

2,19

A

REI.'IJS.\L

1'O

NIOURN

THU

DITA'I'II.

BY

POS'I'STRUC]TURALIST

TtII'OR\" OF't[I

E AUI'IIOR,

OR.

1'llE

EMEIIGENCI

OF

A

i\lASl'ER

(OIr)

NAltttA'I'lvt]:

IAN

l\'1cE\YAN

The

yoqrg

authpr

starring as Iln Nlacabre

Likc

Kazuo

Ishiguro.

Ian

McErvan

is

orc of thc

l;rilliant

crcativc

rv|iters

har.ing

graduated

from thc

by

norv

thmous

M.A.

run

by Malcolm

BradbLrry

and Angcle

('adcr

at thc

University

of

f,as1

Anglia,

Norv,ich.

McErvan

_itraduated.

published

his

first

collcction

of storics, nrade a

big

litcrary

splash, never.

lopked

back.

In

The

Navel

Today,, Ala::l

Massic dcplorcs

thc

lact

that

L-irst Love,

Lasl

Ritt:s,

Ian lvlcEuan's

llrst

collcction

of

sho(

stories,

was

so

mllch

acclainred at thc

tirr.re

of

its

publication

in

thc

mid-seventles

that

this

retprdcd

the

rvriter's

arlistic

development.l

It is

hard

to

say

\\hcthcr

eatly,

sudden succcss delayed

the

young

rvriter's

devclo'pn.rent.

What

c{ri l

bc

s2lid,

lookn.rg

in

re

trospect

now, is

that

lvlcEri

an,

unlikr3

somc

ol

his brilliant

contcnrporaries,

has managcd

to avoid boring rcpctitions

of

a

successful

fomula,

has

avoided

taking

rcckless

risks

rviti.r

sudden,

new

directions

in

a desperate

qucst

for originality.

lMass

ie

,

A.

Thc Notel

lr.,r1a-r . l.ondon: L ongman I 990,

p

5 I


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