This book takes the concept of postmemory, developed in Holocaust studies, and applies it for the first time to novels by contemporary British writers. Focusing on war fiction, Alden builds upon current scholarship on historical fiction and memory studies, and extends the field by exploring how the use of historical research within fiction illuminates the ways in which we remember and recreate the past.
Using postmemory to unlock both the transgenerational aspects of the novels discussed and the development of historiographic metafiction, Alden provides a ground-breaking analysis of the nature and potential of contemporary historical fiction. By examining the patterns and motivations behind authors' translations of material from the historical record into fiction, Alden also asks to what extent such writing is, necessarily, metafictional. Ultimately, this study offers an updated answer to the question that historical fiction has always posed: what can fiction do with history that history cannot?
Autorentext
Natasha Alden is Lecturer in Contemporary British Fiction at Aberystwyth University
Klappentext
This study applies the concept of postmemory, developed in Holocaust studies, to novels by contemporary British writers. The first monograph-length study of postmemory in British fiction, it focuses on a group of texts about the World Wars. Building upon current work on historical fiction, specifically historiographic metafiction and memory studies, this work extends this field by exploring the ways in which the use of historical research within fiction illuminates the ways in which we remember and recreate the past. Using the framework of postmemory to consider the evolutionary development of historiographic metafiction, Alden provides a ground-breaking analysis of the nature and potential of contemporary historical fiction, and the relationship between postmemory and 'the real'. As well as asking how postmemory can unlock the significance of the transgenerational aspects of these novels, this study also analyses how authors use historical research in their work and demonstrates, on a very concrete level, the ways in which we remember and recreate the past. Tracing the 'translation' of source material as it moves from historical record to historical fiction, Alden offers a taxonomy of the uses of the past in contemporary historical fiction, analysing the ways in which authors adopt, adapt, appropriate, elide, augment, edit and transpose elements found in such material. Asking to what extent such writing is, necessarily metafictional, and what motivates the decisions these novelists make about their use of the past, the study offers an updated answer to the question historical fiction has always posed: what can fiction do with history that history cannot?
Inhalt
1. Introductioni. Flickering at the Edge of My Childhoodii. Graham Swift: Finding out what Father Was Made Of3. Regenerating the past: fact and fiction in the Regeneration Trilogy4. In the beginning was the word; and to that it came back in the long run: Briony Tallis and Atonement5. Lesbian postmemory: Haunted 'history' in The Night Watch 6. Conclusion: it may help the reader to know what is historical and what is notBibliographyIndex