Stories, Theories and Things

Brooke-Rose, Christine

doi:10.1017/cbo9780511518621

Cited by 35 publications

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“…We're doing a découpage of reality and all the more so when we write a novel or a poem or anything else'. 19 But as the author and as 'first reader', 20 Brooke-Rose cannot help but see, and thus wish to privilege, is sufficiently ambivalent for both to be possible, and both are enriching.…”

Section: Dictionary Of Literary Biography Entry On Brooke-rose and Brmentioning

confidence: 99%

“…Fiction may represent,but 'Things as they are are changed upon the blue guitar' 33. Fiction cannot be reality, but nor can it completely cut loose from it because language has a built in referential function 34. Furthermore, neither reader nor critic can compel a text to conform to their expectations.…”

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“…With a view to showing how useful Thru can be to us as we gaze in Hysteron (sic) signifies uterus' 53. As Brooke-Rose says in Stories, Theories and Things, 'the very word hysteria, from ustera, uterus, womb, is misogynous…' 54. While Derrida rejects the whole species of the argument on theoretical grounds, we find that Brooke-Rose's earlier response in Thru, is to pick up and play with the term.…”

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Christine Brooke-Rose: motes, beams and the horse’s mouth

White

2018

Textual Practice

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Section: Dictionary Of Literary Biography Entry On Brooke-rose and Brmentioning

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Christine Brooke-Rose: motes, beams and the horse’s mouth

White

2018

Textual Practice

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“…This relationship (even consistency, to a certain extent) between theory and fiction may well hold true for the entire subgenre of the academic novel, as well as for metafiction. While Brooke-Rose is almost unknown as a novelist (judging at least from Romanian university syllabi as well as the lack of translations of her novels), she is a respected theorist -known particularly for A ZBC of Ezra Pound (1971), A Rhetoric of the Unreal: Studies in Narrative and Structure, Especially of the Fantastic (1981) and Stories, Theories, and Things (1991) -a fact confirmed even by Lodge's novel, which mentions her, alongside Julia Kristeva, as a potential candidate for the UNESCO Chair of Literary Criticism (121). David Lodge, on the other hand, has a wide readership as a novelist (not only in Romania), but is less known for his contribution to literary theory and criticism in books like Language of Fiction (1966) and Working with Structuralism (1981).…”

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“C’est la vie, c’est la narration”: The Reader in Christine Brooke-Rose’s Textermination and David Lodge’s Small World

Selejan¹

2016

American, British and Canadian Studies Journal

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This article considers two metafictional academic novels from the reader’s point of view. It argues that this critical vantage point is suggested (if not imposed) by the fictional texts themselves. The theoretical texts informing this reading pertain either to reader response or to theories of metafiction, in an attempt to uncover conceptual commonalities between the two. Apart from a thematic focus on academic conferences as pilgrimages and the advocacy of reading as an ethically valuable activity, the two novels also share a propensity for intertextuality, a blurring of the boundaries between fictional and critical discourse, as well as a questioning of the borderline between fiction and reality. The reading of fiction is paralleled to the reading of (one’s own) life and self-reflexivity emerges as crucial to both types of literacy.

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“…43 Critics such as Christine Brooke-Rose agree with McHale's claim that construed thus, V. is governed by an analogous epistemological rationale that is only fully transcended in the ontological free-play of Gravity's Rainbow. 44 Indeed, it seems clear that just like Stencil, Oedipa pursues an elusive and ever deferred truth.…”

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To Cry from Within or Without? Pynchon and the Modern – Postmodern Divide.

Harvey

2013

Orbit: Writing Around Pynchon

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Writing in the Electronic Book Review, the literary critic Brian McHale has suggested that Thomas Pynchon's more recent fiction has attempted to 'capture what it means, what it feels like, to "change tenses," […] -for instance, to change tenses from "What Is Postmodernism?" to "What Was Postmodernism?"' 1 The postmodern status of Pynchon's more recent writing is perhaps patent. However, writing in the late 1980s, McHale argued that Pynchon's pithy chef-d'oeuvre, The Crying of Lot 49 (1966) is a paradigmatic late-modernist text; a work that stands at the boundary of the modern -postmodern divide. Arguing from what is essentially a formalist stance, he contended that this early novella is premised upon epistemological presuppositions, and, as such, does not permeate the postmodern domain. By way of contrast, he argues that Pynchon's later leviathan, Gravity's Rainbow (1973) transcends the epistemological fetters of modernity; as he puts it, it is a work no longer inhibited by the limits of modernism as it freely exploits the artistic possibilities of plural worlds. 2As with the debate centred upon the apparent demise of postmodernism, arguments interrogating the demarcation of modern and postmodern literature abound. Such discussions are often partisan and entrenched, if not internecine in nature. As McHale has recently suggested, period concepts are 'moving targets' -they are 'elusive and malleable,' and none perhaps more so than postmodernism.3 By way of qualification, McHale asks, 'When did postmodernism begin (if ever it did), and has it ended yet?' 4 McHale is surely right when he concludes that such questions remain largely unresolved. 5However, within his own terms, his claim that The Crying of Lot 49 fails to break through to a mode of fiction beyond modernism is more debatable. 6 In fact, I would suggest that in figurative terms allied to its thematic content, Pynchon's novella can be read as an unresolved case that demands further critical analysis. With the embers of postmodernism perhaps still warm, it

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Stories, Theories and Things

Cited by 35 publications

References 0 publications

Christine Brooke-Rose: motes, beams and the horse’s mouth

Christine Brooke-Rose: motes, beams and the horse’s mouth

“C’est la vie, c’est la narration”: The Reader in Christine Brooke-Rose’s Textermination and David Lodge’s Small World

To Cry from Within or Without? Pynchon and the Modern – Postmodern Divide.

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