These concepts-error, indeterminacy, uncertainty, accident-all bear a relation to that which evades or resists interpretation and meaning. Or in the rear-view mirror by ellipsis or evasion. The experimental novel cultivates an interest in methods of representation that are oblique: attempting to conjure the world at an angle, These novels are interested in the fleeting and the fugitive, in discontinuity and shock. This volume takes some of the claims made about experimental fiction-that it is unreadable, nonlinear, elliptical, errant, plotless-and reimagines these descriptors as historically inscribed tendencies that express the period's investment in the idea of the accidental. Charting these engagements, it shows how they have significance not just for our understanding of these decades but for the broader movement of the novel through the century. Late Modernism and the Avant-Garde British Novel reassesses the experimentalism versus realism debates of the period, and finds a body of work engaged with, rather than merelyĪntagonistic towards, the literary culture it sought to renovate. Johnson, and Ann Quin worked against the dominance, as they saw it, of the realist novel of the literary mainstream. Click here to purchase from Rakuten Kobo In the decades following the immediately postwar period in Britain, a loose grouping of experimental writers that included Alan Burns, Christine Brooke-Rose, B.
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