Bucknell University Press, 1999 - 187 Seiten
"Since the publication of Lanark in 1981 Alasdair Gray has been a figure of importance in contemporary literature. Now, through attention to mixed genre, counter-historical narrative, and the thematics of memory, this first study of Alasdair Gray's novels shows the coherence of the Scottish writer's varied body of work. Stephen Bernstein refuses to view Gray's work through the vague lens of postmodernism, seeing Gray instead as a writer at home in a variety of literary traditions. Beginning by providing an American audience with backgrounds to Gray's work, this study recounts the chronology of his publications and their reception by an international audience, simultaneously placing his writing in the contexts of Scottish culture and literature."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
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Alasdair Gray appears assertion becomes begins Bella better body British called century chapter characters clear close comes complete concerns course critics culture death described earlier early Edinburgh English experience fact Fall fantasy father feels fiction final follows future give Glasgow Gray's History Maker identity important interest Interview Janine Jock Jock's Kelvin Walker Lanark later lead Leather less Library linked literary lives London looks Mavis McGrotty McLeish memory metafictional mind moves narrative Necropolis notes novel offers origin past perspective play political Poor Things possible present Press problems provides readers reading references response result Review role says scene Scotland Scots Scottish seems sense sexual short shows social story suggests takes tells Thaw Thaw's tion true turns University Victorian woman writing York
Seite 26 - ... destroyed, and that which is in one country taken away to another ; and their own bodies shall be made the tomb and the means of transit of all the living bodies which they have slain.
Seite 23 - The Scottish Muse has, however, another mood. Though she has loved reality, sometimes to maudlin affection for the commonplace, she has loved not less the airier pleasure to be found in the confusion of the senses, in the fun of things thrown topsy-turvy, in the horns of elfland and the voices of the mountains.