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By C. Manfredi

Alasdair grey: Ink for Worlds deals clean views on Alasdair Gray's literary and pictorial works, with contributions that span a variety of theoretical views and degrees of study between that are literary reports, high quality artwork, be aware and photograph reports, structure and media reports.

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Alasdair Gray: Ink for Worlds

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 reports, positive paintings, observe and picture experiences, structure and media reviews.

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7) In Gray, Goethe’s description of humankind’s tendency towards slackening of activity and unconditional rest becomes, much more specifically, the ‘smooth routines upholding every state’. Lack of activity is much more pointedly equated with a sense of complacency regarding the mechanisms of government and society and of political apathy that not only fails to react to injustice, but does not even begin to question the political system. This particular spin on the exchange between God and Mephistopheles in the Prologue in Heaven sheds light on Gray’s dissatisfaction with Goethe’s ending in Faust Part 2, since Faust does not disrupt society’s complacencies, rather the contrary.

50). In thus trying to retrieve information from people’s pasts in order to recreate ‘the’ past, she becomes an equivalent of the figure of the historian that the editor tries to impose as a version of himself in the introduction: I also told Donnelly that I had written enough fiction to know history when I read it. He said he had written enough history to recognize fiction. To this there was only one reply – I had to become a historian. I did so. I am one. xi–xii) So the novel introduces the second figure in Gray’s cast of characters, which is made to appear as both a counterpart of the amnesiac – there is somehow the suggestion that being an amnesiac qualifies Bella to become a historian, as if the collecting of external facts was all there was to history, as if, in other words, there was no discourse attached to history – and as a version of another of Gray’s recurring figures: the creative artist.

And the language used in the Fleck postscript (‘billionaire businessman’) is in keeping with Gray’s expressed desire to ‘wrench the story into [his] own vision of the 20th and 21st century’. On the Two Ravens website, Gray once more summarises Goethe’s Faust in similar terms, and gives his most explicit condemnation of the play’s ending at the same time as his most explicit account of his continuing fascination with the text: ‘I thought this a rotten ending for the play, yet most of it haunted me ever after [ ...

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