By Allan Johnson
Alan Hollinghurst and the power of impact proposes a extraordinary procedure for examining the impacts that interlace twentieth-century homosexual British writers. targeting the position of the textual picture in literary impression, this e-book strikes towards a brand new knowing of the interpenetration of literary and visible tradition within the 20th century.
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Extra resources for Alan Hollinghurst and the Vitality of Influence
45 It is within ‘The Portrait of Mr. ’ and Wilde’s more famous self-plagiarized The Picture of Dorian Gray, Bloom contends, that we find Influence, Image, and the Movement of Time 23 this proof that Wilde ‘knew he had failed as a poet because he lacked strength to overcome his anxiety of influence’. Bloom quotes at length from The Picture of Dorian Gray: [All influence is immoral] because to influence a person is to give him one’s own soul. He does not think his natural thoughts, or burn with his natural passions.
The stele becomes a vaguely distorted analogue of Will’s own younger self, emblematized and problematized in an iconic image with significant social associations in 1980s gay culture. 9 Such a metamorphosis, as I see it, speaks clearly to the text’s interest in Will’s own process of transformation, completed most obviously by ‘the knotty broadening of the bridge of [his] nose’, but more subtly by his transformed – yet still incomplete – understanding of his and his family’s implication in this past (SPL 189).
32 This act of redaction, Sedgwick continues, ‘sanctioned intergenerational flirtation’,33 and sets out a curious continuum of performance and shame, of writerly father and unproven son. 34 This performance of shame, conveyed through the homoerotic, and perhaps – but not exactly – narcissistic ‘flirtation’ with the younger self, is a method central to Will’s narrative account of 1983, but also Jarman’s own recreation of the Akenaten screenplay in Up in the Air. As he writes in his introduction: I think if I made it now it would have no real necessity and would be merely decorative – perhaps not.