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

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narration. Frobisher has entered a world without objective facts and, therefore, without the possibility of an objective narrator. Continuing along shop windows, Frobisher and his double reach a newsagent’s shop, where again the narrator shows unusual access to the man’s mind. After looking at several pre-war posters, the present begins to impinge: BLACK-OUT FOR ALL LONDON. My man again managed the half of a smile. Another placard apparently startled him for a moment. SOHO MURDER CASE DISCLOSURES. He looked away and looked at it again. It can have told him nothing, but a sweat broke out on his top lip. SOHO KILLING. MAN QUESTIONED. He breathed in quickly and stared across the street, squinting as it were into the huddled shadows of his own mind. But he knew already that this was only a pretence. There was no clue for him in this. (76) Here, Frobisher not only peeks into the man’s mind, but observes his mind observing itself. This is a particularly Jamesian moment, but there are, once again, several important differences. First, narrator, focalizer, and thinker are all one man. Second, while James’s focalizers generally cultivate impressions and analysis in search of greater aesthetic, moral, and psychological insight, Frobisher’s double seeks only a “clue.” The mystery tale that is, in McHale’s theory, modernism’s double is here revealed as such. We are reminded not only of Frobisher’s own entanglement and fugitive status, but of the reader’s own unusual predicament of not quite knowing what happened between Frobisher and St. Hilda, despite being witnesses to the former’s narration of the scene. This third element—the reader’s position of 199
afflement toward a scene that has been fully narrated (as opposed to the Jamesian habit of simple omission)—is related to a fourth: a fixed, rather than indeterminate, as is common in James, ambiguity of reference in the final deictic pronoun. “This” may refer to the news placard, which offers no clue to Frobisher’s actions or the public response, or to the man’s own mind. Here again, Heppenstall emphasizes a key apparent break from the Jamesian modernist tradition: the investigation of the mind is not an opportunity for rich discovery and narrative redirection, but is instead an empty cul-de-sac, resulting in an absence of revelation and a narrative stasis. The man is next confronted with a stereotypical Negro other who initially seems to offer some sense of wholeness to the fractured Frobisher, the Negro soon proves not to conform to stereotype: Coming towards him now was a tall, thin negro, flat-footed, with hands swinging loose, a big, curly-brimmed hat on the side of his head. The negro, too, was reassuring, being totally alien and remote. My man smiled at the negro and spoke. He said: ‘Is this Soho?’ ‘Yeah, sure.’ The negro said it like any English boy who has been to American films. The voice was not like any of the voices that negroes are supposed to have. That made the man I was following smile all the more. (76-77) 200
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ABSTRACT Title of Document: BRITISH
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BRITISH MODERNIST NARRATIVE MIDDLES
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Dedication To my wife Pat, my disse
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Table of Contents Dedication ......
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necessarily after anything else, an
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eginning. That is, a modernist midd
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and Mario Ortiz-Robles have brought
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Princess Casamassima. The former is
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choice of McHale’s definition is
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In examining modernist middles, I w
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“is to overlook the other fundame
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evolution of capitalism strikes me
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spatial and temporal confines. On t
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narratives in Beckett’s Molloy, c
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Johnson mark an end to Britain’s
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period somewhat peripheral, a parti
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is oriented around endings (Jim’s
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eal world, yet the novel explores i
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Ulysses, the second half of In Tran
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Modernist texts may also contain mi
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chapters), and the end as Marlow’
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potentially be used to highlight ep
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middle) of the veracity of the Time
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Jim’s actions within a causal nar
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to Patusan midway through the novel
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violation of the unity of action, b
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which mass culture will be articula
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Jameson shows how the difference be
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genres, connected by multiple middl
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it does in Jameson’s reading. How
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text, since only a vast rupture req
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actually see Jim make the deal with
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for interpreting his own life and t
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garners an enthusiastic response fr
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circular encasement, which has the
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text’s initial questions are begi
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Chapter 2: Modernist Points of View
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it seems that the marriage plot is
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centering his novels within his pro
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singular, centered focalization—a
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inn. The lovers will return to Char
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consciousness itself seems to contr
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created, in part, by the use of mul
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epistemological problem: how do the
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observation leads immediately and i
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ineffectiveness” (Kafalenos 125).
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shall have everything’” (266).
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can to the sheer unspeakable narrat
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induce me” (277). Fanny, then, re
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and the objective world. Instead, M
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‘Sure. Nothing will. Good-night,
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It was not till many days had passe
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which a story unfolds, and perhaps
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When Amerigo arrives, Maggie’s co
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accomplish, who she will meet, what
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Chapter 3: “Time Passes”: The M
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narrative force towards modernist m
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Even as “Time Passes” serves an
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technique of modernist narrative, b
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ground of any rival solutions to Li
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summary and scene” (Genette, Narr
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Window,” and the ending section,
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presentation in “Time Passes.”
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where things happen. Events are mad
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has promised James that they will g
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For Lucio Ruotolo, however, this na
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eginning, middle, and end together
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integral to the musical and dramati
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spring from the narrative problem o
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who creates a mind for inanimate ob
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own thoughts nor that of any charac
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language, and thus subject to the c
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Lighthouse,” and narrations of th
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in so far as her presence helps the
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anthropomorphizing narrative—but
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In the initial description of summe
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they find “something out of harmo
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Page 164 and 165: Furthermore, passages like this fun
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Page 168 and 169: Mrs. McNab and Mrs. Bast are arguab
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Page 172 and 173: conventions of modernist and tradit
Page 174 and 175: middle by making itself markedly di
Page 176 and 177: Lighthouse’s primary narrative pa
Page 178 and 179: served to marginalize experimental
Page 180 and 181: the author’s other novels. Alick
Page 182 and 183: himself. In an episode that resembl
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Page 186 and 187: accept the lying perspective as par
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Page 190 and 191: died on October, 1938” (7). Frobi
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Page 194 and 195: However, like the stories Macmann a
Page 196 and 197: which takes Saturnine to the edge o
Page 198 and 199: Aspic, to thank him for his kindnes
Page 200 and 201: Whereas Genette’s discussion of h
Page 202 and 203: problems of the self, but instead p
Page 204 and 205: sees in the faces. But here we can
Page 208 and 209: Frobisher is reassured both by the
Page 210 and 211: strode on. He said, with his eyes n
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Page 218 and 219: Thus, after a tile falls from the r
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Page 224 and 225: The ending Frobisher comes to with
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Page 238 and 239: inadequate to me for such a narrati
Page 240 and 241: narratives. This fundamental differ
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Page 244 and 245: unburden the author’s memory. How
Page 246 and 247: Instead, the middle of The Unfortun
Page 248 and 249: By contrast, the second type of sec
Page 250 and 251: at both. This particular failure is
Page 252 and 253: as knowing it, as he did not know o
Page 254 and 255: had been so full-fleshed, the whole
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had talked, Tony” (“That was th
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epudiation of its own central moder
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narrator/rememberer. Johnson mainta
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etrospective, an attempt to think i
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it, welcome it) the ball spun lazil
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worn” 9-10). The image finds the
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like a miracle, though he still cou
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By contrast, when the narrator firs
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memory: a mixture of the ordered an
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Chapter 6: Indivisible Form, Divide
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ecause postmodernism concerns the n
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in the diegetic reality of the nove
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section one LINGUISTIC LEPROSY Alle
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In Transit’s musical subtitles al
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they are perched between or represe
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performative in a Butlerian sense,
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the chorus describe themselves as a
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lamentable incident which I am now
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social component of thought only th
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identity, which remains unitary and
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not an effort to give the narrator
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Novelist 33). That is, Pat-the-narr
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primarily with classifying Pat’s
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now irrelevant, replaced by the pur
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etween reader and author. When Pat
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consequences for the entire world o
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world presented to the reader in Se
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of Pat’s own life, and by forgett
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evolutionaries find that another gr
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However, Brophy is not entirely don
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masculinity. Its manifestations are
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to violate. In Transit’s postmode
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ontological—shifts to consider de
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However, I would argue that we read
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Conclusion Modernism and narrative
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approximately half of the narrative
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little attention in the past, littl
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Brophy, Brigid. Don’t Never Forge
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1989. 162-185. ---. “Periodizing
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Johnson, B. S. The Unfortunates. Ed
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Political in the Novels of Virginia
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Said, Edward. Beginnings: Intention
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