Man in a Sidecar : Madness, Totality and Narrative Drive in the Short Story. / Armstrong, Tim.

Modernism, Postmodernism, and the Short Story in English. ed. / Jorge Sacido. Amsterdam : Rodopi, 2012. p. 79-98.

Research output: Chapter in Book/Report/Conference proceedingChapter

Published

Standard

Man in a Sidecar : Madness, Totality and Narrative Drive in the Short Story. / Armstrong, Tim.

Modernism, Postmodernism, and the Short Story in English. ed. / Jorge Sacido. Amsterdam : Rodopi, 2012. p. 79-98.

Research output: Chapter in Book/Report/Conference proceedingChapter

Harvard

Armstrong, T 2012, Man in a Sidecar: Madness, Totality and Narrative Drive in the Short Story. in J Sacido (ed.), Modernism, Postmodernism, and the Short Story in English. Rodopi, Amsterdam, pp. 79-98.

APA

Armstrong, T. (2012). Man in a Sidecar: Madness, Totality and Narrative Drive in the Short Story. In J. Sacido (Ed.), Modernism, Postmodernism, and the Short Story in English (pp. 79-98). Rodopi.

Vancouver

Armstrong T. Man in a Sidecar: Madness, Totality and Narrative Drive in the Short Story. In Sacido J, editor, Modernism, Postmodernism, and the Short Story in English. Amsterdam: Rodopi. 2012. p. 79-98

Author

Armstrong, Tim. / Man in a Sidecar : Madness, Totality and Narrative Drive in the Short Story. Modernism, Postmodernism, and the Short Story in English. editor / Jorge Sacido. Amsterdam : Rodopi, 2012. pp. 79-98

BibTeX

@inbook{beb58e56e558499884449d5c820b31bc,
title = "Man in a Sidecar: Madness, Totality and Narrative Drive in the Short Story",
abstract = "Taking as its starting point the philosopher Stanley Cavell{\textquoteright}s brief reflections onPoe{\textquoteright}s {\textquoteleft}The Imp of the Perverse{\textquoteright} and writing as self-understanding, self-concealment and madness – and as its founding image Cary Grant speaking of love alone in a sidecar in I Was a Male War Bride – this chapter considers the relation between totality and incompleteness in the short story, focussing in particular on the incompletion of desire as a way of discussing the formal issues involved. If the modernist short story is so often thought of as an emblem of formal closure (the single gesture or unitary narrative shape), it often deals with notions of interruption and nonpresence, and with a certain madness created by the inability to account for the other.The essay considers two classic modernist stories of incomplete desire – Joyce{\textquoteright}s{\textquoteleft}The Dead{\textquoteright} and Katherine Mansfield{\textquoteright}s {\textquoteleft}The Stranger{\textquoteright} – and compares them to two sets of postmodern short stories, the {\textquoteleft}chain stories{\textquoteright} of the English writer David Mitchell and the stories of the American David Foster Wallace (in particular the title story of Oblivion), exploring the proposition that in the contemporary stories incompleteness is displaced from identity to the narrative in which the self is ostensibly located, radically changing the form itself. ",
author = "Tim Armstrong",
year = "2012",
language = "English",
isbn = "97890420355577",
pages = "79--98",
editor = "Jorge Sacido",
booktitle = "Modernism, Postmodernism, and the Short Story in English",
publisher = "Rodopi",

}

RIS

TY - CHAP

T1 - Man in a Sidecar

T2 - Madness, Totality and Narrative Drive in the Short Story

AU - Armstrong, Tim

PY - 2012

Y1 - 2012

N2 - Taking as its starting point the philosopher Stanley Cavell’s brief reflections onPoe’s ‘The Imp of the Perverse’ and writing as self-understanding, self-concealment and madness – and as its founding image Cary Grant speaking of love alone in a sidecar in I Was a Male War Bride – this chapter considers the relation between totality and incompleteness in the short story, focussing in particular on the incompletion of desire as a way of discussing the formal issues involved. If the modernist short story is so often thought of as an emblem of formal closure (the single gesture or unitary narrative shape), it often deals with notions of interruption and nonpresence, and with a certain madness created by the inability to account for the other.The essay considers two classic modernist stories of incomplete desire – Joyce’s‘The Dead’ and Katherine Mansfield’s ‘The Stranger’ – and compares them to two sets of postmodern short stories, the ‘chain stories’ of the English writer David Mitchell and the stories of the American David Foster Wallace (in particular the title story of Oblivion), exploring the proposition that in the contemporary stories incompleteness is displaced from identity to the narrative in which the self is ostensibly located, radically changing the form itself.

AB - Taking as its starting point the philosopher Stanley Cavell’s brief reflections onPoe’s ‘The Imp of the Perverse’ and writing as self-understanding, self-concealment and madness – and as its founding image Cary Grant speaking of love alone in a sidecar in I Was a Male War Bride – this chapter considers the relation between totality and incompleteness in the short story, focussing in particular on the incompletion of desire as a way of discussing the formal issues involved. If the modernist short story is so often thought of as an emblem of formal closure (the single gesture or unitary narrative shape), it often deals with notions of interruption and nonpresence, and with a certain madness created by the inability to account for the other.The essay considers two classic modernist stories of incomplete desire – Joyce’s‘The Dead’ and Katherine Mansfield’s ‘The Stranger’ – and compares them to two sets of postmodern short stories, the ‘chain stories’ of the English writer David Mitchell and the stories of the American David Foster Wallace (in particular the title story of Oblivion), exploring the proposition that in the contemporary stories incompleteness is displaced from identity to the narrative in which the self is ostensibly located, radically changing the form itself.

M3 - Chapter

SN - 97890420355577

SP - 79

EP - 98

BT - Modernism, Postmodernism, and the Short Story in English

A2 - Sacido, Jorge

PB - Rodopi

CY - Amsterdam

ER -