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| Titre : | Breaking Memory Modes : Anne Enright's and Tana French's Silent Interruptions (2017) |
| Auteurs : | Fionnuala DILLANE, Auteur |
| Type de document : | Article |
| Dans : | Irish University Review (Vol 47 n 1 Spring/Summer 2017) |
| Article en page(s) : | p. 143-164 |
| Langues: | Anglais |
| Mots-clés : | |
| Résumé : | Anne Enright's trauma novel, The Gathering (2007), and Tana French's crime novel, The Secret Place (2014), can be seen to operate purposefully within the familiar codes of their respective genres to a degree that draws attention to the processes of emotional and cognitive recognition that give such codified works their emotional power: repetitive, affective, recognisable framing patterns. Both authors, however, also deploy what I call, following Marianne Hirsch, an aesthetics of interruption: this is an affective, political resistance to the gratifying dispensations that characterise most memory modes and that feature in closure-driven detective fictions in particular. Both novelists exceed genre parameters to make us think about genre frames and what exceeds both the frame and its contained, comprehensible narrative. The aesthetic interruptions in both texts force us to think about the silences that obtain around community collusion in criminal actions and unrelenting structural oppression, and that produce, facilitate and sustain asymmetrical relations of power. |
| Pays de publication : | Grande-Bretagne (Royaume Uni) |
| Fonds : | Médiathèque |
