Visual Devices in Contemporary Prose Fiction: Gaps, Gestures, Images

213 Pages·2016·1.703 MB·English

by  Simon Barton

Visual Devices in Contemporary Prose Fiction
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Visual Devices in
Contemporary Prose Fiction
Gaps, Gestures, Images
Simon Barton
School of Arts and Media, University of Salford, UK
© Simon Barton 2016
All rights reserved. No reproduction, copy or transmission of this
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Any person who does any unauthorized act in relation to this publication
may be liable to criminal prosecution and civil claims for damages.
The author has asserted his right to be identified as the author of this work
in accordance with the Copyright, Designs and Patents Act 1988.
First published 2016 by
PALGRAVE MACMILLAN
Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited,
registered in England, company number 785998, of Houndmills, Basingstoke,
Hampshire RG21 6XS.
Palgrave Macmillan in the US is a division of St Martin’s Press LLC,
175 Fifth Avenue, New York, NY 10010.
Palgrave Macmillan is the global academic imprint of the above companies
and has companies and representatives throughout the world.
Palgrave® and Macmillan® are registered trademarks in the United States,
the United Kingdom, Europe and other countries.
ISBN 978-1-349-58025-5 ISBN 978-1-137-46736-2 (eBook)
DOI 10.1057/9781137467362
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For Toby and Hannah
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Contents
List of Figures viii
Acknowledgements ix
1 An Introduction to Visual Devices in Contemporary
Prose Fiction 1
2 Reading Textual Gaps 27
3 Textual Gestures: Iconic Text and Narrative 68
4 Graphic Storytelling and Visual Narrative: Images in
Prose Fiction 92
5 Case Study 1: Raymond Federman’s Double or Nothing:
A Real Fictitious Discourse (1992) 123
6 Case Study 2: William H. Gass’s Willie Masters’
Lonesome Wife (1968) 153
7 Conclusions 172
Bibliography 179
Index 194
vii
List of Figures
2.1 B. S. Johnson (2004 [originally 1971]),
House Mother Normal in B. S. Johnson Omnibus, p. 176 35
5.1 Raymond Federman, (1992), Double or Nothing:
A Real Fictitious Discourse, p. 1 132
5.2 Raymond Federman, (1992), Double or Nothing:
A Real Fictitious Discourse, p. 195 148
viii
Acknowledgements
This book is the product of research over a considerable period of time
and it would have never come to fruition without the help, advice and
support from a number of groups and individuals who I must take the
time to thank here.
Dr Glyn White, whose continual advice, influence, support, k nowledge
and friendship has steered this research to its current destination. This
would have been a lesser work without his dogged eye for detail and
precision.
My infinite gratitude and love must be extended to Hannah, my wife,
and now mother to our child, Toby. Her patience, understanding and
willingness to provide financial support to this project that is still some-
what of a mystery to her knows no bounds and continues to inspire me.
Thanks to Jean Wareing, my grandmother, and to Barbara and Kevan,
my parents for their unending support and encouragement that has
ultimately led to this publication. Special thanks must also go to Derek
Wareing, my late grandfather, whose prophetic comment, ‘You’re going
to be a scholar’, acted as a driving force that has borne fruit, many years
later, with the publication of this book.
This work would have halted years ago without the support and
companionship of my friends who provided a release valve at the most
stressful of times. I have more of these than I can list here but here
are few notable persons who have been at my side throughout: Adam,
Laura, Stuart, Keirina, Martin, Helen, Michael, Susie, Matt, Michelle,
Ben, Whitney and Alex.
To Toby, whose recent appearance made all this worthwhile and who
inspires and surprises me each new day.
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