By Emily Horton (auth.)
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Additional resources for Contemporary Crisis Fictions: Affect and Ethics in the Modern British Novel
109). Indeed, in placing stress on the structural and stylistic ‘hybridity’ of British postmodernism, and on a persistence of material concerns within this, Constructing a New Genre 41 even while drawing attention to the final constraints on referentiality, Hutcheon recognises an important technical and theoretical doublesidedness to this writing. As she puts it: Postmodern art is not so much ambiguous as it is doubled and contradictory. There is a rethinking of the modernist tendency to move away from representation […] by both installing it materially and subverting it.
1 Contemporary Crisis Fiction: Constructing a New Genre What then is contemporary crisis fiction? What are its generic components? In this chapter, I endeavour to answer these questions by taking a closer look at the forms and stylistic features of these writings, instanced in particular in their use of first person unreliable narrators and crisis scenarios, as well as the subversive appropriation of popular genres and intertexts, temporal digressions and fragmentation, memorial retrospection, and confessional disclosure.
In a way, this reading would appear at least in one sense to complement Linda Hutcheon’s account of contemporary British writing in terms of ‘historiographical metafiction’, in so far as this too emphasises the combination of realist and postmodern devices appropriated within these novels, as well as the concern to underscore a ‘contingent and inescapably intertextual history’ (Hutcheon, 1989, p. 109). Indeed, in placing stress on the structural and stylistic ‘hybridity’ of British postmodernism, and on a persistence of material concerns within this, Constructing a New Genre 41 even while drawing attention to the final constraints on referentiality, Hutcheon recognises an important technical and theoretical doublesidedness to this writing.