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

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Acknowledgments Brian Richardson, who believed in this project from the beginning, provided exceptional commentary, encouragement, and support through the end. Caroline Levine provided pre-publication drafts of the introduction as well as her contribution to Narrative Middles. Jennie Wellman took the time out from her own studies to read and provide incisive comments on a few chapter drafts. A few chapters also owe a significant debt to Linda Kauffman and the students of her dissertation workshop. Any faults, errors, and omissions are, of course, my own. iii
Table of Contents Dedication ..................................................................................................................... ii Acknowledgments........................................................................................................ iii Table of Contents ......................................................................................................... iv Introduction ................................................................................................................... 1 Chapter 1: “The Plague Spot”: Finding the Modernist Middle in Joseph Conrad’s Lord Jim ...................................................................................................................... 32 Chapter 2: Modernist Points of View: A Middle Without Text in Henry James’s The Golden Bowl................................................................................................................ 67 Chapter 3: “Time Passes”: The Middle as Corridor in Virginia Woolf’s To the Lighthouse ................................................................................................................. 105 Chapter 4: Spirituality and Delusion: The Middle as Rupture in the Consciousness in Rayner Heppenstall’s Saturnine ............................................................................... 170 Chapter 5: A Noun-Like Narrative: The Middle as Unfixed Memory in B.S. Johnson’s The Unfortunates ..................................................................................... 220 Chapter 6: Indivisible Form, Divided: The Middle as Leap from Modernism to Postmodernism in Brigid Brophy’s In Transit ......................................................... 267 Conclusion ................................................................................................................ 317 Works Cited .............................................................................................................. 322 iv
Page 1 and 2: ABSTRACT Title of Document: BRITISH
Page 3 and 4: BRITISH MODERNIST NARRATIVE MIDDLES
Page 5: Dedication To my wife Pat, my disse
Page 9 and 10: necessarily after anything else, an
Page 11 and 12: eginning. That is, a modernist midd
Page 13 and 14: and Mario Ortiz-Robles have brought
Page 15 and 16: Princess Casamassima. The former is
Page 17 and 18: choice of McHale’s definition is
Page 19 and 20: In examining modernist middles, I w
Page 21 and 22: “is to overlook the other fundame
Page 23 and 24: evolution of capitalism strikes me
Page 25 and 26: spatial and temporal confines. On t
Page 27 and 28: narratives in Beckett’s Molloy, c
Page 29 and 30: Johnson mark an end to Britain’s
Page 31 and 32: period somewhat peripheral, a parti
Page 33 and 34: is oriented around endings (Jim’s
Page 35 and 36: eal world, yet the novel explores i
Page 37: Ulysses, the second half of In Tran
Page 40 and 41: Modernist texts may also contain mi
Page 42 and 43: chapters), and the end as Marlow’
Page 44 and 45: potentially be used to highlight ep
Page 46 and 47: middle) of the veracity of the Time
Page 48 and 49: Jim’s actions within a causal nar
Page 50 and 51: to Patusan midway through the novel
Page 52 and 53: violation of the unity of action, b
Page 54 and 55: 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
Page 102 and 103:
‘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
Page 108 and 109:
When Amerigo arrives, Maggie’s co
Page 110 and 111:
accomplish, who she will meet, what
Page 112 and 113:
Chapter 3: “Time Passes”: The M
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narrative force towards modernist m
Page 116 and 117:
Even as “Time Passes” serves an
Page 118 and 119:
technique of modernist narrative, b
Page 120 and 121:
ground of any rival solutions to Li
Page 122 and 123:
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
Page 132 and 133:
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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like to be up here at dusk alone ne
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armistice, but it follows so immedi
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y the narrator, allow a world unpop
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Furthermore, passages like this fun
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(“narrated monologue”) as “a
Page 168 and 169:
Mrs. McNab and Mrs. Bast are arguab
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unclear whether time flows forward,
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conventions of modernist and tradit
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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
Page 184 and 185:
unity between time story time and n
Page 186 and 187:
accept the lying perspective as par
Page 188 and 189:
cause and which effect. Any attempt
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died on October, 1938” (7). Frobi
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middle of fundamental change; the u
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
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Whereas Genette’s discussion of h
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problems of the self, but instead p
Page 204 and 205:
sees in the faces. But here we can
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narration. Frobisher has entered a
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Frobisher is reassured both by the
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strode on. He said, with his eyes n
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analyze mental states from outside
Page 214 and 215:
journey up. But meaning emanates fr
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death vision, in which life is self
Page 218 and 219:
Thus, after a tile falls from the r
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objection to realism: yes, an objec
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esulted in a doubling—or repetiti
Page 224 and 225:
The ending Frobisher comes to with
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though the novel’s return to epis
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andom order. However, each memory r
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middle therefore randomizes the nov
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created by a formal device that rep
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final section resolves the scenario
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that each of the novel’s sections
Page 238 and 239:
inadequate to me for such a narrati
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narratives. This fundamental differ
Page 242 and 243:
turned into a thing. In fact, as Jo
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
Page 256 and 257:
had talked, Tony” (“That was th
Page 258 and 259:
epudiation of its own central moder
Page 260 and 261:
narrator/rememberer. Johnson mainta
Page 262 and 263:
etrospective, an attempt to think i
Page 264 and 265:
it, welcome it) the ball spun lazil
Page 266 and 267:
worn” 9-10). The image finds the
Page 268 and 269:
like a miracle, though he still cou
Page 270 and 271:
By contrast, when the narrator firs
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memory: a mixture of the ordered an
Page 274 and 275:
Chapter 6: Indivisible Form, Divide
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ecause postmodernism concerns the n
Page 278 and 279:
in the diegetic reality of the nove
Page 280 and 281:
section one LINGUISTIC LEPROSY Alle
Page 282 and 283:
In Transit’s musical subtitles al
Page 284 and 285:
they are perched between or represe
Page 286 and 287:
performative in a Butlerian sense,
Page 288 and 289:
the chorus describe themselves as a
Page 290 and 291:
lamentable incident which I am now
Page 292 and 293:
social component of thought only th
Page 294 and 295:
identity, which remains unitary and
Page 296 and 297:
not an effort to give the narrator
Page 298 and 299:
Novelist 33). That is, Pat-the-narr
Page 300 and 301:
primarily with classifying Pat’s
Page 302 and 303:
now irrelevant, replaced by the pur
Page 304 and 305:
etween reader and author. When Pat
Page 306 and 307:
consequences for the entire world o
Page 308 and 309:
world presented to the reader in Se
Page 310 and 311:
of Pat’s own life, and by forgett
Page 312 and 313:
evolutionaries find that another gr
Page 314 and 315:
However, Brophy is not entirely don
Page 316 and 317:
masculinity. Its manifestations are
Page 318 and 319:
to violate. In Transit’s postmode
Page 320 and 321:
ontological—shifts to consider de
Page 322 and 323:
However, I would argue that we read
Page 324 and 325:
Conclusion Modernism and narrative
Page 326 and 327:
approximately half of the narrative
Page 328 and 329:
little attention in the past, littl
Page 330 and 331:
Brophy, Brigid. Don’t Never Forge
Page 332 and 333:
1989. 162-185. ---. “Periodizing
Page 334 and 335:
Johnson, B. S. The Unfortunates. Ed
Page 336 and 337:
Political in the Novels of Virginia
Page 338 and 339:
Said, Edward. Beginnings: Intention
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