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• W55416794 abstract "Ebony (1974) has not exactly bowled over commentators John Fowles. Katherine Tarbox found book so similar to that she did not give it chapter in Art of John Fowles (2). Linda Hutcheon views volume as failed chance to break through limitations of his treatment of women (Cooper viii). However, I find title story more interesting than most critiques have, not because Fowles said that it demystified Magus (Salami 136), but because he did not say how it mystifies reader. In The Ebony Tower, David Williams, young English painter, teacher, and critic, goes to hunt down Henry Breasley, an aging expatriate artist living at Coetminais in Brittany, behalf of London publisher doing book his work. In end, however, it is Williams who is brought to bay, shocked from his habitual complacency by encounter with Breasley and two young Englishwomen attending him; assignment turns into an appalling revelation of his shortcomings as an artist and man. Coet had been mirror, and existence he was returning to sat mercilessly reflected and dissected in its surface. . . Coet had remorselessly demonstrated what he was born, still was, and always would be: decent man and [an] eternal also-ran. (101, 105) ruthlessness with his protagonist, perhaps most striking feature of story, rises to crescendo here at end. Williams, fundamentally good, if rather tentative, human being, must no longer pose as an artist. He is forced to see himself as fake, mere functionary of the ebony tower - whole pseudo-modern-art establishment of critics, educators, and abstractionists - made to self-destruct, to accept and even extend Breasley's drunken denunciation of his fair-mindedness as sheet yellowbelly (40). Qualities such as tolerance and honesty, turned inside out, are revealed as cloaks for his terror of vanity, of selfishness, of Id; safety hid nothingness (102). Somehow, until these scarifying moments, he has missed essential point that art is fundamentally amoral (105). Worst of all, Williams believes that he will in time rationalize even this experience, reinterpreting his cowardice as common sense and forgetting truths he learned at Coet. In paper read at 1978 MLA Special Session Fowles, Ina Ferris argued that much of fiction was working out of myth of Orpheus and Eurydice, and of an image from Eliot's Burnt Norton: Down passage which we did not take / Toward door we never opened / Into :rose garden. Fowles's novels, she wrote, typically centre rejected passage which may once again be found. They are second-chance stories in which a woman is central, for woman holds key to rose-garden (5). But what is remarkable about The Ebony Tower is precisely exclusion of this second chance, both within narrative present and, author decrees, for all time; myth and modern poem apply, not with twist Ferris gives them, but with all pessimistic force of their original forms. woman still holds key to rose garden, but will not open door for David Williams. Fowles gives us not only the Jamesian theme of unlived life (Hirsch 18), but an assertion that his thirty-one-year-old protagonist is not going to live, that he has not capacity for artist's life. On its surface, story is an ingenious modernization of themes and characters from French medieval literature. epigraph comes from section of Chretien de Troyes' Ywain that recounts hero's journey toward his adventure. Coetminais is situated in forest of Paimpont or Broceliande, where several of Chretien's romances are set, and Breasley at one point discourses on Marie de France and Eliduc (51). At conclusion of The Ebony Tower author steps forward, in what he calls A Personal Note, to emphasize seminal importance of Eliduc, which he then translates in its entirety as second story of volume. …" @default.
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• W55416794 date "1996-03-22" @default.
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• W55416794 title "Actaeon's Sin: The Previous Iconography of Fowles's The Ebony Tower.(John Fowles Issue)" @default.
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