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• W2149372346 abstract "All popular fi ction must feature a romantic couple, and so it is in the opening pages of Brighton Rock (1938) that Graham Greene introduces Pinkie and Rose, the teenagers whose abrasive courtship and perverse marriage will both enact and travesty this convention as the novel unfolds. When Pinkie fi rst meets Rose, she is working at Snow’s as a waitress. Entering the establishment, Pinkie encounters a wireless set “droning a programme of weary music broadcast by a cinema organist—a great vox humana trembl[ing] across the crumby stained desert of used cloths: the world’s wet mouth lamenting over life” (24). This reference to the weary lamentations of wireless remains an isolated detail until moments before Pinkie takes his fatal plunge over the cliff in the novel’s closing pages. Having taken Rose up the coast from Brighton with plans to facilitate her suicide, the couple sits for a few awkward moments in an empty hotel lounge. As Rose works on her half of the couple’s double-suicide note, to be left behind for the benefi t of “Daily Express readers, to what one called the world” (260), wireless makes a brief but meaningful re-appearance as that world speaks back. “The wireless was hidden behind a potted plant; a violin came wailing out, the notes shaken by atmospherics,” writes Greene (250). Later, the violin fades away and “a time signal pinged through the rain. A voice behind the plant gave them the weather report—storms coming up from the Continent, a depression in the Atlantic, tomorrow’s forecast” (251). With apparently only minutes to live, Rose listens absently to this mysterious yet “potted plant” of a technology--a medium capable of summoning both otherworldly atmospherics and the drudgery of British weather. But then suddenly she remembers, “tomorrow’s weather didn’t matter at all” (251). Wailing against a seaside backdrop and in anticipation of an impending death, this sonic framing of Rose and Pinkie evokes Kipling’s 1902 “Wireless,” even as Greene rewrites that story’s ghostly theatrics of poetry from beyond the grave into a Catholic meditation on anxiety at the threshold of the void. 1 “[B]ehind the violin the rain tapped against the seaward windows,” continues Greene, evoking, like Kipling before him, the familiar association of wireless with two vast oceans, that of water and ether. Whereas Kipling explored the technology’s uncanny associations with a higher spiritual plane, Greene’s account is decidedly earthbound." @default.
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• W2149372346 date "2007-01-01" @default.
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• W2149372346 title "Wireless Women: The Mass Retreat of Brighton Rock" @default.
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