Muriel Spark's Early Fiction : : Literary Subversion and Experiments with Form / / James Bailey.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE COMPLETE 2021 English
• VerfasserIn: Bailey, James,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2021
• Year of Publication: 2022
• Language: English
• Physical Description: 1 online resource (224 p.)

A compelling reappraisal of Spark’s approach to literary experimentationOffers a distinctive reappraisal of Spark’s fiction, which challenges the rigid critical framework that has long been applied to her writingInterrogates how Spark’s literary innovations work to facilitate moments of subversive satire and gendered social critiquePresents nuanced re-readings of some of Spark’s major works, as well as lesser-discussed texts such as her only stage play, Doctors of Philosophy, and early short storiesDraws upon detailed archival research to offer a unique insight into the social contexts and personal preoccupations that informed Spark’s writingThis book presents a detailed critical analysis of a period of significant formal and thematic innovation in Muriel Spark’s literary career. Spanning the mid-1950s to the mid-1970s, it identifies formative instances of literary experimentation in texts including The Comforters, The Driver’s Seat and The Public Image, with an emphasis on metafiction and the influence of the nouveau roman. As the first critical study to draw extensively on Spark’s vast archives of correspondence, manuscripts and research, it provides a unique insight into the social contexts and personal concerns that dictated her fiction.

Table of Contents

Frontmatter -- Contents -- Acknowledgements -- Introduction: The Desegregation of Spark -- 1. ‘Author’s Ghosts’: Manifestations of the Supernatural in Spark’s Early Fiction -- 2. ‘The role in which you’ve cast me’: Reassessing the Myth of Spark -- 3. ‘Drama[s] of exact observation’: Spark and the Nouveau Roman -- 4. ‘A study, in a way, of self-destruction’: The Driver’s Seat and the Impotent Gaze -- Conclusion: Leaving the Hothouse -- Notes -- Bibliography -- Index