By Nick Bentley

The Nineties proved to be a very wealthy and interesting interval for British fiction. This booklet offers a clean standpoint at the diversified writings that seemed over the last decade, bringing jointly major teachers within the field.

content material: advent : mapping the millennium : subject matters and tendencies in modern British fiction / Nick Bentley --
From extra to the hot international order / Fred Botting --
'Refugees from time' : background, loss of life and the flight from truth in modern writing / Andrzej Gasiorek --
technology and fiction within the Nineteen Nineties / Patricia Waugh --
British technology fiction within the Nineties : politics and style / Roger Luckhurst --
The McReal factor : personal/national identification in Julian Barnes's England, England / Sarah Henstra --
our on-line world and the physique : Jeanette Winterson's The.powerbook / Sonya Andermahr --
'Fascinating violation' : Ian McEwan's youngsters / Peter Childs --
'Tongues of bone' : A.L. Kennedy and the issues of articulation / Helen Stoddart --
Mr Wroe's virgins : the 'other Victorians' and up to date fiction / B.E. Maidment --
Pat Barker's vanishing limitations / Lynda Prescott --
Singular occasions : the 'as if' of Beryl Bainbridge's each guy for himself / Fiona Becket --
Iain Sinclair's millennial fiction : the instance of sluggish chocolate post-mortem / Julian Wolfreys --
Hedgemony? : suburban house within the Buddha of suburbia / Susan Brook --
Iain Sinclair : the psychotic geographer treads the border-lines / Peter Brooker.

proposing a clean standpoint at the diversified writings that seemed in British fiction throughout the Nineties, this ebook brings jointly best teachers within the field. Read more...

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Example text

The mouse is like him, an undermouse; its drama, a human drama. His gaze duplicates that of most of the audience, divided, as if by consumer survey, into two groups: ‘those whose eyes fell upon a bleeding man, slumped across a table, and those who watched the getaway of a small brown rebel mouse’. The mouse, curiously, flashes a ‘smug look’ (Smith 2000: 541). The gaze, then, is split between human and transgenic mouse, a mouse masquerading in the unbloodied eyes of the onlookers as human, heroic criminal and rebel, while all the time being a being of a resolutely different order of post-natural creation.

With the victory of liberal democracy, ideological strife is finished; humans, having their material needs satisfied by technologically enhanced powers of capitalism, also wish to satisfy a desire for recognition, a wish embodied in freedom and democracy (Fukuyama 1992). Even the emerging cultural tensions, noted by Fukuyama in his citation of Samuel Huntington’s ‘civilizational clash’, seem reduced (Fukuyama 1995: 3). White Teeth’s north London, with its mixed families, everyday consumption and low-level tensions outside the family, seems to have resolved questions of cultural difference and tension in its end of history.

The novel, of course, views such claims with suspicion. Marcus’s and Magid’s anti-accidentalism is associated with other kinds of apocalypticism: Magid is an incredible figure, pathologically clean, overbrushing his teeth and ironing his underpants; the Chalfens, like Hortense, have a quaintly ‘nutso’ quality to their Chalfenist convictions. The ending, too, seems to celebrate accidents and chance, a victory for the aleatory over the controls, certainties and apocalyptic fantasies articulating religious and scientific fundamentalism, which have, since Darwin at least, become a repetitively familiar bickering old couple.

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