By Alan McCluskey
During this paintings, Alan McCluskey explores materialism, in its many conceptual kinds, within the modern cosmopolitan novel. the writer applies a 'cosmopolitan materialist' lens to the novels of Caryl Phillips, J. M. Coetzee, and Philip Roth: 3 modern authors who hail from diversified elements of the area and convey hugely distinctive novels.
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The gods have stepped again from their involvement within the nice conflict in the world and hence, the Greeks have pressured the Trojans again to the very partitions of Troy. it truly is then that the best of Trojan warriors, the powerful Hector, might be held again now not and he demanding situations any Greek in a fight to the demise to choose the struggle!
During this paintings, Alan McCluskey explores materialism, in its many conceptual kinds, within the modern cosmopolitan novel. the writer applies a 'cosmopolitan materialist' lens to the novels of Caryl Phillips, J. M. Coetzee, and Philip Roth: 3 modern authors who hail from various elements of the realm and convey hugely diverse novels.
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Additional resources for Materiality and the Modern Cosmopolitan Novel
However, Phillips also complicates straightforward historical deductions of this sort by employing narrative strategies that make us doubt the character’s reliability. This process appears to start when Stern emigrates to England and attempts to adapt to her new life. Significantly, Phillips stretches this event over a relatively large section of the novel, spreading it among shards of other memories, dreams, and intrusions from the voices of the other narrators. Brief moments of analepsis and prolepsis from various periods of the journey reverberate with one another to develop a fragmented and confusing collage of experiences in which the general sequence of events becomes confused.
While Macherey’s work is put to use in this last argument, Gilroy’s theories of minority subjectivity and their relationship to modernity also provide an important complementary framework. To begin this discussion, I now examine some of the narrative procedures used in Higher Ground. In this novel, Phillips employs formal strategies very similar to those used in Cambridge (1991), Crossing the River (1993), and, indeed, The Nature of Blood. To varying degrees, each of these novels features polyphonic narratives 26 Materiality and the Modern Cosmopolitan Novel whose aesthetic properties and content have clearly been shaped by the major events of their respective historical periods, but which echo each other in their themes of exile, displacement, and human suffering.
This analysis appears to share some parallels with the argument put forward by Bewes about the important role shame plays in Phillips’s work. 24 Indeed, an aura of shame certainly does permeate through the narrative of Rudy Williams, albeit one that is suppressed by a smoldering sense of anger and indignation. However, while I agree that the reader’s recognition of shame is a stimulus for our humane identification with a character like Williams, Phillips also employs other techniques that spur us toward a self-conscious empathic engagement with the protagonist.
Materiality and the Modern Cosmopolitan Novel by Alan McCluskey