By Nicholas Robinette (auth.)
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Extra info for Realism, Form and the Postcolonial Novel
Example text
Lamming, The Emigrants, 6. Lamming, The Emigrants, 19. Lamming, The Emigrants, 95. Lamming, The Emigrants, 6. Lamming, The Pleasures of Exile, 12. Lamming, The Emigrants, 66–7. Lamming, The Emigrants, 121. Lamming, The Emigrants, 50–1. Lamming, The Emigrants, 67. Georg Lukacs, Realism in Our Time: Literature and the Class Struggle, trans. John and Necke Mander (New York: Harper Collins, 2000), 21–2. Lamming, “Concepts of the Caribbean,” 4; Lamming, The Pleasures of Exile, 37.
28 The narrator understands his own perspective to be unreliable as he seeks to capture the (literally) unsettling voyage. Denied a recognizable, ordered world, this intradiegetic narrator perpetually converts his observations into a philosophical speculation. ”29 The narrator piles abstractions upon the deck of the ship (“lack,” “cause,” “choice,” “contradiction”) as if it were peopled by concepts instead of travelers. The ship has no human meaning or purpose; the world is ungraspable and arbitrary.
Lamming attends to both the emigrants’ gestures of affiliation and exclusion, cruelty and generosity. There are no illusions of easy unanimity in this passage, but a current of conversation that opens the novel to world-historical events. 0004 Realism, Form and the Postcolonial Novel consciousness of political events on a larger scale and the characters find a wider perspective. Everyday reality and historical background thus appear in the novel without ever dissolving into one another. The events of the novel are situated in the life of diasporic London, while the characters’ debate and discussion persistently raises questions about distant political struggles.