By Vanessa Guignery
Conversations with Julian Barnes collects eighteen interviews, performed over approximately 3 many years, via newshounds and correspondents through the international with the writer (b. 1946) of such hugely praised novels as Flaubert's Parrot and Arthur & George. The interviews jointly deal with everything of Julian Barnes's assorted works and supply readers the main shiny portrait but of contexts and affects in the back of his ten novels, his brief tales, and his essays. The interviews concentration not just at the author's fiction but additionally on his essays, translations, and pseudonymous writings. Barnes's evolving realizing of the subjects constructed in his works (history, fact, love, paintings, and death), his perspectives at the paintings of the writing approach, and the function of authors in modern society also are mentioned at size.
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Extra resources for Conversations with Julian Barnes (Literary Conversations)
The trope of the dressing room offers a persuasive means of revising this debate. Nancy Armstrong sees in the novel’s origins an anxiety about what women were, as eighteenth-century domestic novels subordinate ‘‘all social differences to those based on gender . . ’’35 For Armstrong, the question of delimiting women—refashioning them as proper, middle-class subjects—was at the heart of novelistic discourse, and ultimately in line with the poetic tradition that looked to women as muses. 37 If we use the dressing room trope to think about the relationship between satire and the domestic novel, then we likewise see that their connection is equally unacknowledged by critics whose focus is satire and fiction, generally because the reading of satire is itself narrow.
44 If both forms are mimetic, however, then Paulson’s argument seems to be more suitable to the self-consciously domestic novels of Richardson and others, rather than to the comic novels of Fielding and Smollett. The focus of critics considering the relationship between satire and the domestic novel has preempted a thoughtful consideration of the extent to which the tradition of satirizing women contributed to the development of narratives about female subjects, even though the novelists themselves were acutely aware of the precedent.
92 My work instead offers a beginning corrective for the erasure of women in general from theories of the closet. There certainly were dressing rooms for men—Lord Chesterfield conducted (in)famous business in his—but they were provinces for male prerogative (linked in type to the gentleman’s closet) rather than sites of anxiety. When men’s private parts came under scrutiny, the effect was much more likely to suggest that the particular man was a deviant, rather than that an entire gender was. Examples such as the Baron’s altar in The Rape of the Lock, Colley Cibber’s account of Pope’s impotence with a prostitute in his ‘‘Tom-Tit’’ story, and Lady Mary Wortley Montagu’s satire of Swift’s impotence with another prostitute all suggest that these men fail individually, rather than collectively.