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

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Frobisher is reassured both by the sense of encountering a well-defined cultural other whose very alienness is familiar from racist popular imagery. He is then further reassured when this pattern is reversed: the Negro is undefined in popular culture, but familiar, if not as a Negro, from real life. Furthermore, he is familiar not because his image is replicated by popular culture, but because his voice is itself a replication of popular culture. Perhaps Frobisher smiles because he delights in his expectations being defied, in finding a man more human than expected. I suspect, however, that Frobisher’s double’s delight is the product of a more complex production of an other, a man different from him in a manner which appeals specifically to his intellectual pretensions: rather than an exotic Negro, the man is a culturally vulgar youth. Furthermore, this man’s self, rather than Frobisher’s perception of that self, has proven vulnerable to cultural incursions. Frobisher may be split in two at this point, but at least, he can be reassured, the two are both native to himself. This brief moment of assurance for Frobisher is immediately disrupted by the encounter which at last firmly reveals the identity of the man he has been following. In the following passage, which concludes the chapter, the narrator delves further into the man’s mind, using free indirect discourse, narrative description, and, on one occasion, direct discourse, to reveal the man’s thoughts. Throughout, Frobisher still fails to recognize himself even as objective events reveal the man’s identity: Then something was happening, and the man with mud-caked shoes and his jacket collar turned up was afraid. Two cars were hesitating round the corner, one grey and one blue. I heard the occupants of the two cars consulting with each other, shouting through the noise of 201
clutches holding their engines hard. A woman’s voice was calling out to somebody by name: ‘Alick. Alick . . .’ The man’s first impulse was to run up and see what it was, see if he could help. A lovers’ quarrel, a drunken lark involving a girl, possibly a genuine crime. He might be useful. Then fear warned him again to turn away. He turned at once and marched off towards the distant main road, his heart beginning to pump hard. The thought pulsed in his head: ‘I don’t want to get mixed up in anything. I must go away. I’ve got to keep clear of things.’ He strode out as fast as he could. There was no thought in his head, except that he must get away. But the two cars were following him, were alongside, were pulling up two or three yards in front of him. People were getting out of them and banging the doors, from the grey car a woman and a large young man with a scar over one eye, from the other a police inspector and a constable. The man I was following strode on. He meant to ignore them. They stood in his path. The woman kept saying: ‘Alick, darling. Alick . . .’ It was to him that she was saying it. He must have seen that she was handsome, rather tall, and that she had tears in her eyes, but he 202
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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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upper rooms of the empty house only
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Page 164 and 165: Furthermore, passages like this fun
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Page 174 and 175: middle by making itself markedly di
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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
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Page 198 and 199: Aspic, to thank him for his kindnes
Page 200 and 201: Whereas Genette’s discussion of h
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Page 224 and 225: The ending Frobisher comes to with
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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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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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ABSTRACT Title of Document: BRITISH MODERNIST ... - DRUM

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