By K. Brindle
Neo-Victorian writers invoke conflicting viewpoints in diaries, letters, and so on. to creatively retrace the prior in fragmentary and contradictory methods. This e-book explores the complicated wants curious about epistolary discoveries of 'hidden' Victorians, providing new perception into the artistic synthesising of severe concept in the neo-Victorian novel.
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Epistolary Encounters in Neo-Victorian Fiction: Diaries and Letters
Neo-Victorian writers invoke conflicting viewpoints in diaries, letters, and so on. to creatively retrace the prior in fragmentary and contradictory methods. This publication explores the complicated wants considering epistolary discoveries of 'hidden' Victorians, delivering new perception into the artistic synthesising of serious inspiration in the neo-Victorian novel.
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2 Diary form As I have emphasised, despite similarities between letters and diaries, neo-Victorian writers appear most strategically to manipulate traits peculiar to diary form. A good illustrative example is Charles Palliser’s 1989 novel, The Quincunx: The Inheritance of John Huffam, which contains few letters and a rather more significant diary text. Mary Huffam’s notebook/diary is strategically positioned at the epicentre of Diary and Letter Strategies 33 a labyrinthine narrative puzzle strictly structured to the mathematical figure of the novel’s title.
88 2 Riddles and Relics: Critical Correspondence in A. S. Byatt’s Possession: A Romance and The Biographer’s Tale Do you suppose it’s something to which Jeffrey Aspern’s letters and papers – I mean the things in her possession – have reference? Henry James The Aspern Papers (1888)1 In her 1990 novel, Possession: A Romance, A. S. 3 Her novel attempts to deliver this message by pitting documents and secrets against representative literary theorists. Letters and diaries navigate contentions between theory and writerly authority as Byatt harmonises seductive secrets and descriptive imagery to launch a counter-attack against prescriptive critical reading.
Temptingly, she outlines Ash’s desired cucumber sandwiches: ‘delicately salted, […] exquisitely fine-cut’ (87), but discourages physical appetite at this early stage. It is, however, only postponed, not discounted, as she concludes her missive with the direct invitation: ‘if you care to write again’ (87). Her letter is a masterpiece of titillation and suggestion for Ash and readers, veiled beneath a guise of literary allusion. 37 Faith and doubt, private and public selves, and the merits and mission of literary art ostensibly preoccupy their epistolary intercourse as desire builds with physical meeting and consummation delayed.