![]() ![]() ![]() He denies that his interruptions break the “illusion” of their reality because “my characters still exist”.įowles expanded on this idea in an essay published in Harper’s Magazine in 1968, called Notes on an Unfinished Novel. ![]() He is most concerned with his characters’ independence they will not do as he “orders”, instead acting “gratuitously” and with “autonomy”. However, Fowles’s thoughts on his own writing make his process seem less self-conscious than subconscious. What could be more postmodern than interrupting your narrative to disavow postmodernism? But The French Lieutenant’s Woman is still characterised as a postmodern exercise. Meanwhile, Barthes argued that the author is dead authorial intentions should be disregarded.Īlready you can see why Fowles might separate himself from those kinds of ideas in his self-conscious re-creation of the Victorian form. The latter’s big contention, when he wrote Towards a New Novel in 1963, was that the novel is a form that must constantly evolve. That begs the question of what the novel “in the modern sense of the word” may be? The implication, confusingly enough, is that a modern novel is a postmodern one, since Fowles names both a leading postmodernist (Barthes) and a thinker credited with pointing the way towards it (Robbe-Grillet). ![]()
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