By C. Manfredi
Alasdair grey: Ink for Worlds bargains clean views on Alasdair Gray's literary and pictorial works, with contributions that span quite a lot of theoretical views and degrees of study between that are literary reports, wonderful artwork, notice and photograph stories, structure and media reports.
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Extra info for Alasdair Gray: Ink for Worlds
Ritchie-Smollett both paraphrases the line and quotes it twice in German (once incorrectly): ‘as long as you’ve a good heart and keep trying there’s no need to despair. 399); and ‘Has not the prayer of humanity in all ages been for innocent and abundant food? Impossible, of course, but wer immer strebend sich bemüht et cetera’. The second time Lanark responds, ‘Please stop bombarding me with [ ... 407), highlighting the intertextual line at the same time as calling it into question. ) ‘amazing virulence’ resurfacing with a vengeance in the Postscript to Fleck.
85–133), which is built on the structural implications of this absence of relationship: in the story, what is past and cannot come back, literally by having been destroyed, is presented to the poet-narrator whose role it is to uphold a tyranny by extolling its figurehead, the ‘emperor’, as being accessible from the present. To borrow Heidegger’s distinction again, it is wrongly presented as vergangen and gewesen, while effectively erasing even the theoretical trace of its existence. The chaos which is the outcome of the story (but which in fact appears to be relevant to some spatio-temporal dimension before it even began) can only be seen as the inevitable political consequence of tampering with the fragile dual ontology that is the past.
In so 28 Marie-Odile Pittin-Hédon doing, they add a layer to the understanding of the phrase ‘literature against amnesia’ as they indicate that, in the final analysis, all literature, like all history is amnesia, as it purports to focus on just one way of remembering the past. In such context, it should come as no surprise that in Gray’s fiction, the passage from memory to history should be underlined as multiple. After a series of conflicting traces, of contradictory testimonies in Lanark and Poor Things, Old Men in Love introduces a metaphor for the part played by the narrative (of fiction and of history) in the fixing of the trace.
Alasdair Gray: Ink for Worlds by C. Manfredi