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Story-telling, since its earliest beginnings, has drawn its power not simply from the intrinsic fascination of a skilful narrative but from the fact that human beings are compelled to make ‘fictions’ if they are to explain and come to terms with the world they experience. This holds true, as Mr Wicker shows in the course of a profound and wide-ranging enquiry, for the complex and often sophisticated novels and anti-novels of our own day just as much as for such traditional forms as myth and fairy-tale. The world remains ‘story-shaped’.
Brian Wicker was Senior Lecturer in English Literature in the Department of Extra-Mural Studies, University of Birmingham.
Introduction: Metaphor and Metaphysics in FictionPart One: Theoretical1 Metaphor and ‘Analogy’2 Metaphor and ‘Fiction’3 Metaphor and ‘Nature’4 Metaphor and ‘God’Notes to Part One Part Two: CriticalIntroductory5 Lawrence and the Unseen Presences6 Joyce and the Sense of an Ending7 Waugh and the Narrator as Dandy8 Beckett and the Death of the God-Narrator9 Robbe-Grillet and the One-Dimensional Novel10 Mailer and the Big Plot being hatched by NatureNotes to Part TwoConclusion BibliographyIndex