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    'I-cnhoredactare

    computerizata:

    Copcrta:

    Petre

    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

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

    $liilji$I*R,

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    -In^:

    I":rt

    au.rhor

    sraning

    as

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    Macabre

    -A

    step

    towards

    a

    broadeiso"

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    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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    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.

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    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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    orthe

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    rvrarcorm

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    inlcstarron

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    tto:ta

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    ,

    ,.,nur1r111_'nltllecturl

    concems.

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    undenated

    novel.,-

    pertonnanc(,

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    unjustly

    This

    may

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    ;;;;J

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    he

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    havc

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    ror.,r,ine"u*uu

    ;:,.

    i.lnt

    lj le

    .of

    these

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    may

    represenrs

    r,rn,r,

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

    ]l,"

    viv.idness

    of

    rhe

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    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

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    rn

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    Arter.

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    studv

    and

    hisroricai

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

    psychotogicat

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

    992

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    t

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    title

    of

    Sw]ft's

    ''Drv.t.ot-.

    rl[liz

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    Kazuo

    Ishiguro

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    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

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    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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