![]() ![]() ![]() ![]() Of erudition, stands as a paradoxical beacon which has often divided critics. Precisely, Possession,Ī postmodernist montage steeped in Victorian culture to an unprecedented level Patterns and fiction-writing as heuristic quest. Between these two landmarks is deployed a life-long intellectual and aestheticĪdventure since the writer is primarily concerned with experiments – involving forms, Unclassifiable work which came out in the Canongate series of reworked myths inĢ011. Organised – ranging from The Game (1967) to Ragnarok, an Perfectly consistent with the diachronic order in which the contributions are That Possession, often regarded as the high-water mark ofīyatt’s œuvre, should have been chosen as the linchpin of the collection is It was attendedīy the novelist herself, as is evidenced by some of the footnotes in the It is no surprise therefore that this selection of eleven stimulatingĮssays should come from a symposium organised in the Norman city. Indeed this is where Jean-Louis Chevalier, theĪcclaimed translator of her Booker-winning novel partly set in France, used to Raised to fame thanks to Possession in 1990, has always kept a special Byatt, the versatile English writer, whose name Universitaires de Nancy / Éditions Universitaires de Lorraine, 2018īroché. Book Practices & Textual Itineraries Series, N☈ ![]()
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