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Cargando... Invisible Author: Last Essayspor Christine Brooke-Rose
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"Christine Brooke-Rose's Invisible Author: Last Essays is a valedictory, a fascinating leave-taking by a novelist/critic/theorist who has produced fifteen novels and four books of criticism in over half a century of writing." -Karen Lawrence, University of California, Irvine A blend of memoir and narrative, Invisible Author consists of an interview with Christine Brooke-Rose and a series of lectures Brooke-Rose presented in which she discusses her own work. By publishing these lectures and the interview, the author argues, she breaks the taboo that authors should not write about their writings (although they are constantly invited to talk about them in lecture form). This book's main concern is the narrative sentence, expressing the author's "authority." Traditionally it was in the past tense and impersonal, like that of the historian. The author writes every sentence in this book. Thus the ostensibly invisible author becomes visible. Brooke-Rose's book will appeal to scholars of narrative and readers of fiction alike. In Invisible Author Brooke-Rose reflects on her narrative experiments by combining specific formal analyses with trenchant reflections on the course of literary criticism over the past fifty years. The book illuminates the relations among authors, critics and texts. Christine Brooke-Rose is a novelist, critic, and lecturer. She is perhaps best known for her novels Xorandor and Verbivore. No se han encontrado descripciones de biblioteca. |
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 Google Books — Cargando...GénerosSistema Decimal Melvil (DDC)823.914Literature English English fiction Modern Period 1901-1999 1945-1999Clasificación de la Biblioteca del CongresoValoraciónPromedio: (4)
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Hardly anyone, it turns out, has noticed or made any proper attempt to discuss the specific technical aspect of her novels that she herself considers the most interesting, the way they use grammatical constraints to break out of stale, conventional ways of writing narrative. She did explain it all to one person, apparently (her new boss at Vincennes, Hélène Cixous), and that person did write an article about it in 1968, but seems to have done so without actually reading the books and thus got it all wrong...
The discussion of the constraints, where they came from and what she was hoping to achieve with them is very interesting, and clears up a few little mysteries for me — but I'm glad I read all the novels first. If you read a novel conscious that there's a specific "trick" behind it (as with La disparation or B.S. Johnson's The unfortunates) you end up spending more time looking at how it's done rather than at what the trick actually does for the book as a novel.
Another book that comes with an implied reading-list: not only critical texts and books about language that I haven't read, but also some of the authors Brooke-Rose talks about as important influences, like Alain Robbe-Grillet and Nathalie Sarraute. The discussion of House of leaves in the last chapter makes that sound interesting too... (