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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 experiences, wonderful paintings, note and photograph reports, structure and media stories.

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But the oracle also speaks from within Lanark, so when the reader realises that the whole of the novel, including the realistic depiction 30 Marie-Odile Pittin-Hédon of Glasgow during and after WWII, might very well be the product of Lanark’s own personal narration, the novel appears as a victory of narration over the imposition of a canonical narrative: it is noncanonical not only in the technical sense of the postmodern tricks, but also in the more devious sense that is resists the imposition of the canonical version of history while seemingly representing it.

12. In La Mémoire, l’Histoire, l’Oubli, Paul Ricoeur examines the notion of ‘trace’ that constitutes the past, and asserts that ‘la continuité du passage de la mémoire à l’histoire est assurée par les notions de trace et de témoignage’. 229–30) 13. Paul Ricoeur speaks of the paradox attendant on the reflection about the recalling of the trace, or imprint, which is that representing the past means acknowledging its disappearance. 11) in terms of what he calls ‘la possibilité de la fausseté’. See ‘Ce qui est en jeu, c’est le statut du moment de la remémoration traitée comme une reconnaissance d’empreinte.

50) and the chaos that ensues, blocking the television station so that Fleck’s speech is broadcast without interruption for three minutes. Even with Gray’s qualification, Fleck’s suicide remains problematic as a conclusion to the play, but in opposition to Faust, this ending moves the responsibility for redemption back into Fleck’s own hands. He is not transported heavenwards by angels strewing rose-petals, but achieves a kind of narrative and political redemption on his own terms. Unlike Goethe, Gray reunites God and Nick in a closing ‘Epilogue at Heaven’s Gate’ and expands upon the politically moral role for which God appeared to prize Nick in the Prologue.

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