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ABSTRACT Title of Document: BRITISH MODERNIST ... - DRUM

ABSTRACT Title of Document: BRITISH MODERNIST ... - DRUM

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eginning, middle, and end together form the unity <strong>of</strong> a single plot. “Time Passes” is<br />

both narrative and poetic because it contains parts <strong>of</strong> a traditional narrative, so that,<br />

combined with the parts contained in the beginning and end, a full narrative is formed<br />

not only in sequence but in terms <strong>of</strong> the elements that would be present throughout a<br />

traditional narrative.<br />

The close reading <strong>of</strong> “Time Passes” that follows will flesh out the ways the<br />

middle <strong>of</strong> To the Lighthouse <strong>of</strong>fers a different set <strong>of</strong> challenges to traditional narrative<br />

than the rest <strong>of</strong> the novel. “Time Passes” challenges To the Lighthouse’s own<br />

modernist conventions while using aspects <strong>of</strong> those conventions to challenge realist<br />

conventions. The passage <strong>of</strong> time returns the novel to the realm <strong>of</strong> eventful narrative,<br />

but the acceleration and jumbling <strong>of</strong> the passage <strong>of</strong> time threatens to remove the novel<br />

from the realm <strong>of</strong> narrative entirely by, to paraphrase Woolf, giving us nothing to<br />

cling to. Meanwhile, as the narrator grasps for lower-class and nonhuman focalizers<br />

through which to narrate the world, it seems to extend itself beyond the limited point<br />

<strong>of</strong> view <strong>of</strong> the bourgeois novel, whether modernist or realist. Simultaneously, though,<br />

the narrator reveals its limitations, as it anthropomorphizes the natural world and<br />

maintains a bourgeois view <strong>of</strong> its working-class characters. 14 “Time Passes” asks<br />

what is left out by traditional and modernist narrative forms, but its ability to get<br />

beyond these forms and to include what has been left out is limited.<br />

14 As Tratner argues, Woolf’s presentation <strong>of</strong> Mrs. McNab and other working-class women is mixed:<br />

“they are not seen as replacing ‘us,’” but there is “a genuine sense <strong>of</strong> having gained something<br />

from them, <strong>of</strong> having followed their lead in moving toward something new” (Tratner 65). We can<br />

see the narrator enact this ambivalence with the shift from external focalization to a brief internal<br />

focalization: a narrator that is exploring these characters rather than being guided by their thoughts.<br />

127

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