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- W2506645871 abstract "Whatever Ballard’s strengths may be, it is a critical commonplace that he cannot produce plausible characters. Critics of all kinds have been less than charitable about his ability to characterize convincingly, largely viewing his characters as either so much dead wood or as mere spokespeople for Ballard’s own views. Martin Amis, for example, has always found Ballard’s characterization wanting, ‘hardly more than a gesture’ in Concrete Island (1974), whereas in High-Rise (1975) ‘his characterization is merely a matter of “roles” and his situations merely a matter of “context”’. In reviewing Hello America (1981), Amis considers that Ballard’s ’eye for the comedy of human variety is non-existent, and this is why landscape naturally dominates his fiction’.1 It is a view shared by critics: Colin Greenland believes that ‘Ballard parades his disregard for characterisation’,2 and even the possibly most sympathetic of Ballard’s critics, David Punter, confirms the ‘strong erasure of character’ in Ballard’s fictions, although he sees this absence of ‘enclosed and unitary subjectivity’, supplanted by ‘retailed narratives’ of media stereotypes, as one of Ballard’s uniquely post-structuralist strengths.3" @default.
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- W2506645871 date "2012-01-01" @default.
- W2506645871 modified "2023-09-24" @default.
- W2506645871 title "Reading Posture and Gesture in Ballard’s Novels" @default.
- W2506645871 cites W2495430254 @default.
- W2506645871 doi "https://doi.org/10.1057/9780230346482_7" @default.
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