By Allan Johnson
Alan Hollinghurst and the energy of impression proposes a impressive process for analyzing the affects that interlace twentieth-century homosexual British writers. concentrating on the function of the textual photo in literary effect, this ebook strikes towards a brand new knowing of the interpenetration of literary and visible tradition within the 20th century.
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Additional resources for Alan Hollinghurst and the Vitality of Influence
In many ways, this scene fulfils the potential that Sebastian held as a symbol of a martyrdom to AIDS, a consideration obviously beyond the possibility of Jarman’s 1976 film and a further example of the narrating Will’s refusal to acknowledge the certain presence of AIDS in his present time. It is only in The Spell, the first of Hollinghurst’s novels in which a character dies from AIDS, that we finally find the pierced Sebastian: [Alex] found himself in front of a sixteenth-century Spanish Saint Sebastian made of brightly glazed pottery.
He is not used by the text as a symbol of futurity, but stands, instead, to further broaden Edward’s incomplete, inexperienced understanding of how the influences of the past might press onward into the future. 66 Reproductive futurity is undermined through the revelation of a continued vital 30 Alan Hollinghurst and the Vitality of Influence influence, explicitly, thematically, and necessarily, dependent upon this unwritable loss. The expressly biological and reproductive metaphors underlying models of literary influence can only partially explicate the conduction of influence between gay narratives.
Yet perhaps the actual ‘unhappy implications’ of Edward’s pun are much simpler than that. Naming a child after the deceased is not a desire to recreate the lost symbol, but rather a desire to commemorate the dead through the potential of future recognition. Surely Willie – shown elsewhere to be incredibly comfortable with gay sexuality – is not made uncomfortable by the suggestion that ‘Ralphie number two’ will become a mirror of his namesake, but simply that ‘Ralphie number two’ represents future potential, and not past loss.