The Secret Country: Decoding Jayne Anne Phillips' Cryptic Fiction

Rodopi, 2007 - 291 páginas
The Secret Country is the first monograph on the work of the contemporary American novelist Jayne Anne Phillips. Through detailed and innovative textual analysis this study considers the southern aspects of Phillips' writing. Robertson demonstrates the importance of Phillips' place within the southern literary canon by identifying the echoes of William Faulkner, Katherine Anne Porter and Edgar Allan Poe that permeate her work.
Phillips' complex attachments to a regional past are explored through both psychoanalytical and historical materialist approaches, revealing not only the writer's distinctly southern preoccupations, but also her reflections on contemporary American society. Tracing the family dynamics in Phillips' work from the turn of the twentieth century to the present, this book examines the effects of increased modernization and capitalization on everyday interactions, and questions the nature of the author's backward glance to the past. This volume is of interest for a wide audience, particularly students and scholars of contemporary southern and American literature.

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Accessing the Secret Country
Nameless Implications The Haunting Vestiges of the Paternal Past in Machine Dreams
A House Divided Class Divergence in Machine Dreams
Preparing for TakeOff Autochthony and Flight in Machine Dreams
Structures of Retrospect The Inescapable Past in Fast Lanes
Dislocations Retracing the Erased in Shelter
Fantastical Remembrances Sexual Desire in Shelter
Leaving the Fatherland Emasculation and Exodus in Shelter
The Experience of Separation in MotherKind
Textured Memories The Remnants of a Paternal Past in MotherKind
Almost Magical Once upon a timein MotherKind
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Página 21 - He had never said a word to her, but she knew now a part at least of what he knew. She understood a little of the secret, formless intuitions in her own mind and body, which had been clearing up, taking form, so gradually and so steadily she had not realized that she was learning what she had to know. Paul said cautiously, as if he were talking about something forbidden: "They were just about ready to be born.
Página 22 - Our parents joked about their two families, first the six sons, one after the other; then a few years later the four daughters, Warwick, and me. Another daughter after the boy was a bad sign, Pa said; there were enough children. I was the last, youngest of twelve Hampsons, and just thirteen months younger than Warwick. Since we were born on each other's heels, Mam said, we would have to raise each other. Warwick, Ava, and I shared one room, the three other sisters another. In winter only the big...

Sobre o autor (2007)

Sarah Robertson is a Senior Lecturer of American Literature at the University of the West of England, Bristol.

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