Search Results

“... A familiar notion is particularly well-expressed in Salman Rushdie’s novel Shame. The notion is that of history as itself a fiction; the expression is varied. ‘All stories,’ he says as intruding author, ‘are haunted by the ghosts of the stories they might have been.’ And elsewhere:   As for me: I too, like all migrants, am a fantasist. I build imaginary countries and try to impose them on the ones that exist ...”

“... Christine Brooke-Rose, being in her eighties and suffering many intractable illnesses and disabilities, recognises that her life must be near its end. Since her retirement from the University of Paris (Vincennes) she has lived alone in a village near Avignon. Being well acquainted with illness, she has offered as her main reason for choosing to spend her old age in France the conviction that the French health services are far superior to the British, an opinion she has not had occasion to revise ...”

“... If Christine Brooke-Rose had stayed in Oxford, instead of migrating to France, she might have been rather like Helen Gardner. Her new book is written with a crispness and a briskness which at once evokes a certain atmosphere: a highly intelligent unresponsiveness to theory, a fear of subjectivity (she even recalls, with obvious relish, her Oxford tutor’s phrase for mere criticism, ‘personal effusions ...”

“... Christine Brooke-Rose’s story of how this new book came to be is that she set out to write about her life, and instead produced a kind of antibiography. It’s described in the jacket’s blurb by Carcanet as ‘an autobiographical novel with a difference’ which ‘uses life material to compose a third-person fiction ...”

“... Nervousness and nostalgia mark these three novels. The nostalgia of Christine Brooke-Rose is, surprisingly, for a golden age of character in fiction; David Caute harks back to the Sixties and the heyday of radical hopes; John Fuller conjures a world in which stories can still enchant. But these novelists are all, in their respective ways, nervous about the power of fiction to enthrall, and they live on the frontiers of representation, constantly checking their credentials, never quite venturing into full-blooded fictional territory ...”

“... In her recent collection Stories, Theories and Things, Christine Brooke-Rose was casting around for a generic term under which to classify such diverse novels as Midnight’s Children, Terra Nostra and Dictionary of the Khazars, and came up with ‘palimpsest history’. What all of these books have in common is their interest in the recreation of a national history: a history which, in each case, has been erased or fragmented, subsumed beneath layers of interpretation, forgetting, writing and rewriting ...”

“... Fish refers to Christina Brooke Rose, he is referring to a hitherto-neglected near-namesake of Christine Brooke-Rose, or somehow subtly intimating something about Christine Brooke-Rose by ‘subverting’ her into a Brooke-Rose by any other name. I think Christina should be ...”

“... they meant it, as though they meant it to matter ... Samuel Beckett (of course), John Berger, Christine Brooke-Rose, Brigid Brophy, Anthony Burgess, Alan Burns, Angela Carter, Eva Figes, Giles Gordon, Wilson Harris, Rayner Heppenstall, even hasty, muddled Robert Nye, Ann Quin, Penelope Shuttle, Alan Sillitoe (for his last book only. Raw Material ...”

“... enormously powerful competition; and if she can’t make it, there seems little hope for such as Christine Brooke-Rose or Alan Burns. There are at least two reasons why adventure is not to be expected. The first is the lack of books to be adventurous about. The big mind-stretching, patience-trying, world-beating novels are now written in America, North ...”

“... Khouri, who’s Lebanese, are notably difficult and one would have to turn to, say, the novels of Christine Brooke-Rose to find similarly taxing British works of fiction. Mahfouz is almost unique in reaching a broad reading public (as well as being widely available in English). Though Jayyusi admires his achievement, she thinks less well of him than I ...”

“... Djuna Barnes and Joyce, say, through Henry Green and Beckett and Robbe-Grillet to Burroughs and Christine Brooke-Rose. The dust jacket flaps of novels published by Calder and Boyars between 1966 and 1972 list their books under the varying heads of ‘Contemporary Fiction’, ‘Fiction’, ‘Modern Fiction’; unusually, on the jacket flap of Quin’s ...”

“... writing: Sterne, Byron, Joyce, Gadda, Amelia Rosselli. The closest point of comparison is probably Christine Brooke-Rose, whose novel Between, published in 1968, inhabits the consciousness of a simultaneous interpreter who – like so many of Marani’s characters – is dislocated between nations and languages. Here she is thinking of her country ...”

“... his own concept of inner space), and nothing at all about contemporaries such as Harold Pinter, Christine Brooke-Rose or B.S. Johnson. (Johnson does make a brief appearance in Miracles of Life, where he’s described as ‘a thoroughly unpleasant figure who treated his sweet wife abominably [and] was forever telephoning me and buttonholing me at ...”

“... The English avant-garde novel was, at least until quite recently, a bit short on theory, though Christine Brooke-Rose has done what she could to put that right. What tends to be ignored is the degree to which practically all the modern novelists now admired, though not for their technical stunts, have gone in for ‘experiment’, from James, Ford and ...”

“... of storytelling, something understood by every human society known to history’. The novelist Christine Brooke-Rose, in an essay resigning her own deuxième carrière as a narratologist, describes narratology as ‘immensely useful. But in the end, it couldn’t cope with narrative and its complexities, except at the price of becoming a separate ...”