A.S. Byatt: Critical Storytelling by Alexa Alfer

By Alexa Alfer

This finished research of A. S. Byatt’s paintings spans nearly her whole profession and provides insightful readings of all of Byatt’s works of fiction as much as and together with her Man-Booker-shortlisted novel The Children’s Book (2009). The authors mix an available evaluate of Byatt’s oeuvre thus far with shut severe research of all her significant works. Uniquely, the ebook considers Byatt’s serious writings and journalism, situating her past the quick context of her fiction. The authors argue that Byatt isn't just vital as a storyteller, but additionally as an eminent critic and public highbrow. Advancing the idea that of "critical storytelling" as an indicator of Byatt’s undertaking as a author, the authors retrace Byatt’s wide-ranging engagement with either literary and demanding traditions. This ends up in positioning Byatt within the wider literary panorama. This booklet has wide attraction, together with fellow researchers, undergraduate and postgraduate scholars, plus common fans of Byatt’s work.

Show description

Read Online or Download A.S. Byatt: Critical Storytelling PDF

Best women writers books

Stevie Smith and Authorship (Oxford English Monographs)

A full-length learn of the British novelist, poet, and illustrator Stevie Smith (1902-1971), this booklet attracts on huge archival fabric to provide new insights into her paintings, difficult traditional readings of her as an eccentric. It finds the cautious keep an eye on with which she controlled her public character, reassesses her allusive poetry within the mild of her personal conflicted reaction to written texts, and lines her simultaneous preoccupation with and worry of her interpreting public.

Jane Austen and the French Revolution

This publication argues that Jane Austin did be aware of of the French Revolution and its results at the eu international, even supposing she by no means refers to it at once in her writing.

Re(dis)covering Our Foremothers: Nineteenth-Century Canadian Women's Writers

The trendy literary searchlight has flushed out Canada’s lengthy ignored 19th century woman writers. New serious methods are recommended and others are inspired to tackle the problems – and rewards – of analysis into the lives of our foremothers.

Italian Women Writers, 1800-2000: Boundaries, Borders, and Transgression

Italian girls Writers, 1800–2000: barriers, Borders, and Transgression investigates narrative, autobiography, and poetry via Italian ladies writers from the 19th century to this day, targeting themes of spatial and cultural barriers, border identities, and expressions of excluded identities. This booklet discusses works via recognized and less-known writers in addition to by way of a few new writers: Sibilla Aleramo, los angeles Marchesa Colombi, Giuliana Morandini, Elsa Morante, Neera, Matilde Serao, Ribka Sibhatu, Patrizia Valduga, Annie Vivanti, Laila Waida, between others; writers who of their works have manifested transgression to confinement and entrapment, both social, cultural, or expert; or who've given value to nationwide and transnational borders, or have hired specific narrative options to provide voice to what usually exceeds expression.

Extra info for A.S. Byatt: Critical Storytelling

Sample text

I leave the end open. (G: 176) Unbeknown to Julia, Simon does indeed go to Oxford to visit Cassandra, who has, contrary to expectations, managed to ‘put out a hand’ at last. But it is too late for both of them. Julia’s book is already out there, and the irony is complete when Cassandra notes in her final conversation with Simon: ‘What can we ever say to each other now that won’t be seen in terms of Julia’s fiction? Our course is plotted for us in it’ (G: 271). Julia, meanwhile, upon learning that Simon has visited Cassandra at Oxford just as she had ‘made’ him do in her novel, also had nothing to say.

Should act as the forerunner of his condemned subtopia, imposing it where it was not, talking limits into land Henry lived in, and found, easily, limitless’ (SS: 32). ’ Oliver’s response is apt: ‘“It’s not in me,” said Oliver, with mock sorrow. “It’s not the way I go on. It may work for you. qxd 24/09/2010 13:23 Page 19 Fathers, sisters and the anxiety of influence 1111 2 3 4 5111 6 7 8 9 10111 11 2 3111 4 5 6 7 8 9 20111 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40111 19 Ostensibly, and at the most basic level, the conflict negotiated in the scene between Henry and Oliver is one between creativity and criticism, ‘seeing’ and ‘thinking’, writing and reading, synthetic versus analytical ways of imagining and perceiving the world.

Indeed, as Michael Westlake (1989: 33), in a thoughtful but not entirely favourable review of Still Life, writes, Byatt’s fiction must appear, at one level at least, like an elaborate defence ‘of a certain kind of literary and philosophical faith’, namely that of an epistemological humanism reaching back before, and at odds with, ‘Continental theory’ and post-structuralism in particular. Overtly, Westlake (1989: 35; emphasis added) continues, Byatt’s project ‘owes much to considerations of realism, coupled’, however, ‘with a suspicion that the narrative form as such must inevitably put that realism into question’.

Download PDF sample

Rated 4.09 of 5 – based on 42 votes