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• W131485405 abstract "Reality's already imposed itself in form of a sodden corpse. And it's going to get more pressing, more palpable still ...--Graham Swift, Waterland Daniel Lea has recently remarked that [Graham] Swift is a problematic figure amongst post-modernist writers largely because he questions cynical or detached irony of many of its proponents. Instead, he reminds us that writing and reading are fundamentally ethical pursuits that cannot stand outside history, aloof and indifferent. (96) The criticism by Lea, Tama Benyei, and Stef Craps aside, however, readings of Swift's ethics have largely been lacking in criticism of his work. Benyei has delineated two categories of critical readings of Swift that have been developed over last two decades: those indebted to Linda Hutcheon's notion of and those that identify the dominant narrative mode of fiction as one of mourning and/or melancholia, inscribing melancholic narrative personae into broader cultural pathologies of nation, empire or age (Novels 40). Benyei further argues that although two styles of reading Swift are not irreconcilable, he privileges 'melancholy' kind of which with pathological voice of and qualif[ies] in advance relevance of any theoretical statement as bearing mark of enunciative situation of narrating. It is natural that latter kind of reading, inevitably in case of Swift, lends itself more to a discussion of ethical dimensions of narratives (41). The present essay employs best aspects of both these strands of Swift criticism in rejecting novel as exemplifying historiographic metafiction while nevertheless retaining this first strand's emphasis on history by demonstrating how novel's treatment of personal history as trauma enables a causally grounded ethical reading of it. While a variety of criticism has explored nature of macrocosmic histories in Swift's masterpiece, Waterland (1983), (1) a persistent refusal to recognize thrust of novel as a delayed confessional narrative conveying stories of narrator Tom Crick's guilt about murder of his friend Freddie Parr and about his aborted child and suicide of his brother has prevented commentators from fully appreciating ethical significance of Crick's narration. (2) Furthermore, criticism that has accrued around natural, topographical, imperial, and family histories Crick relates actually occludes narrative project of novel. His very reason for telling these stories is to prevent revealing atrocities resulting from a series of events in mid-1940s. (3) He loves his job in present as a history teacher at a boys' school in London in late 1970s. But when his wife steals a baby from a supermarket, Crick's position becomes untenable, and he is finally fired after he starts telling stories about his childhood days in 1940s to his classes rather than teaching. The pressure of these two current events is unbearable, and Crick cannot now cope with present, thus he starts his journey back into his memory as he undergoes a process termed re-remembering, which itself stems from our instinctive needs both to tell stories and to confess crimes and misdeeds. This process refers to an almost inevitable recollection of events haunting persons involved in trauma who have forgotten what they originally remembered about atrocities. Although tendency to read novel as historiographic metafiction has dominated criticism of it, Stef Craps has recently pointed out that despite its obvious sympathy for narrativist critique of traditional history, Waterland does not--as is often thought to be case--reflect extreme relativism and radical skepticism in relation to referentiality of language and narrative that are commonly imputed to post-modernist historiography. …" @default.
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• W131485405 date "2009-03-22" @default.
• W131485405 modified "2023-09-23" @default.
• W131485405 title "Embodiments of History and Delayed Confessions: Graham Swift's Waterland as Trauma Fiction" @default.
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