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Urban Space, Singularity and Networks in Laura Del-Rivo’s The Furnished Room (1961)
This essay explores the representation of interior and exterior urban space in Laura Del-Rivo’s novel
(1961) through the lenses of singularity and networking, which are proposed as preferable alternatives to notions such as individuality and community, especially in the analysis of city life and literature. The essay examines portrayals of four kinds of urban space in the novel – the furnished room, the office, the café and the street – which seem to offer escapes from the perceived constrictions of the family home, the suburb and the Church. It analyses the novel’s sensory evocations of such urban spaces, especially through smell and sight. The essay also considers how the narrative conveys the enticements of the abstract and impersonal network of money. It relates these elements to its young male protagonist, an existentialist (anti-)hero who suffers from a recurrent sense of unreality and who seeks a more sustained version of the greater intensity glimpsed in epiphanies, privileged moments in which the world seems temporarily transfigured into a visionary space. The essay suggests that the novel respects but questions his quest by dramatizing his wrong choices and by ending with a view of urban space given over to women and children.
Journal Article
Urban Space, Singularity and Networks in Laura Del-Rivo’s The Furnished Room (1961)
This essay explores the representation of interior and exterior urban space in Laura Del-Rivo’s novel The Furnished Room (1961) through the lenses of singularity and networking, which are proposed as preferable alternatives to notions such as individuality and community, especially in the analysis of city life and literature. The essay examines portrayals of four kinds of urban space in the novel – the furnished room, the office, the café and the street – which seem to offer escapes from the perceived constrictions of the family home, the suburb and the Church. It analyses the novel’s sensory evocations of such urban spaces, especially through smell and sight. The essay also considers how the narrative conveys the enticements of the abstract and impersonal network of money. It relates these elements to its young male protagonist, an existentialist (anti-)hero who suffers from a recurrent sense of unreality and who seeks a more sustained version of the greater intensity glimpsed in epiphanies, privileged moments in which the world seems temporarily transfigured into a visionary space. The essay suggests that the novel respects but questions his quest by dramatizing his wrong choices and by ending with a view of urban space given over to women and children.
Journal Article
Fitzgerald's The great Gatsby : a reader's guide
'Reader's Guides' provide a comprehensive starting point for any advanced student, giving an overview of the context, criticism and influence of key works. This book looks at 'The Great Gatsby' by F. Scott Fitzgerald.
eBook
Christine Brooke-Rose
She went to school in London, Brussels and Folkestone and joined the Women's Auxiliary Air Force in the Second World War. She was posted to Bletchley Park, her \"first university\", which, by showing her the German perspective on the war, taught her \"to imagine the other\", a good training for a novelist. At Bletchley she met Rodney Bax, and they married in 1944. [Christine Frances Evelyn Brooke-Rose]'s marriage to [Jerzy Pietrkiewicz] collapsed in the later 1960s and she accepted Hlne Cixous's offer of a post at the new University of Vincennes (Paris VIII), plunging into literary theory at its headiest moment and producing her most inventive fiction, Thru (1975), a free-floating campus novel whose fragmentary discourses and typographical devices can variously be attributed to students in a creative writing class, their tutor, his ex-partner, and the Master in Diderot's Jacques le fataliste. Brooke-Rose had retired to Provence in 1988 and her next book, Remake (1996), was an unusual third-person autobiography which reminds the reader that it is remaking rather than revealing a life - and \"a remake is never as good as the original\". Next (1998) is a mystery story without a solution which depicts homelessness in London, eschewing the verb \"to have\" to signal the dispossession of its 26 characters, each of whom corresponds to one letter of the alphabet. Subscript (1999) is an epic of prehuman history, tracing the development of life from one-celled organisms to early tribal culture. Her last book, Life, End of (2006) largely avoids the pronoun \"I\", except in dialogue, and sharply evokes the plight of the alert mind in an increasingly infirm body, \"living on the razor's edge\". But that, in a sense, was where Brooke-Rose had lived all her life.
Newspaper Article
Science fiction
\"This Guide summarises the main critical trends and developments surrounding the popular genre of science fiction. Brian Baker reviews the attempts to formulate a critical history, connects the major developments with the rise of theoretical paradigms such as feminism and postmodernism, and introduces key critical texts and major critics\"-- Provided by publisher.
Book
\Tristram of Lyonesse:\ Dangerous Voyage
\"Tristram of Lyonesse\" is a difficult poem because it consists of collapsible structures on the mythological, symbolic, and linguistic levels which offer patterns of form and meaning that they also subvert. In this, \"Tristram\" reflects the uncertainties of Swinburne's own era and anticipates those of our own. The poem further discloses how myth, symbol, and language can structure reality and suggests the instability of the structures they provide: an instability that is both fearful and liberating. In \"Tristram,\" Swinburne is a poet-hero as well as a poet-singer, undertaking a dangerous voyage into zones of deep uncertainty.
Journal Article