Well, you're right, Tom:
>
>For example, in the examples you furnish, I would suspect that there is a
>shift from the subjective to the objective and perhaps back again and likely
>a shift from individual to group and back again? How did these shifts
>affect the writng and how do they affect the reading?
& the questions have no easy answers. Ondaatje, eg, goes in & out of his
various characters & is practicing already for the novels to come (I'd say,
see my Michael Ondaatje [Twayne], but...). The others too. In a very
different manner, Hower brings so many discourses into play, including her
own life lived & written that the thickness of the weft & warp of her weave
is almost impossible to unravel.
And, as readers, we all bring different knowledges to bear upon these texts
& their implications...(especially, perhaps, the historical/contextual
ones...?)
Doug
Douglas Barbour
Department of English
University of Alberta
Edmonton Alberta Canada T6G 2E5
(h) [780] 436 3320 (b) [780] 492 0521
http://www.ualberta.ca/~dbarbour/dbhome.htm
Beauty
is to lay hold of Love
is the leave
to
Charles Olson
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