Earticle

초록

영어

“The ugly fact,” said Cormac McCarthy in an interview, “is books are made out of books.” For several decades, critics have been seeking out the specific intertextual sources that abound in McCarthy’s works, with Melville, Faulkner, and Hemingway considered to be his closest forebears. In the case of The Road, critics have identified a number of romantic and modernist intertexts; no one, however, has investigated the role that Keats’s odes and Joyce’s Ulysses play in McCarthy’s novel, the reason being, presumably, that its engagement with the works of the romantic poet and modernist novelist is not a matter of direct influence or “similar poetics.” Instead, as I argue, McCarthy’s narrative “reads” these works of Anglo-Irish romanticism and modernism and actively works to decontextualize and critically rearticulate fragments of their aesthetic visions. This process reveals profound ambivalence and irresolvable tension: Keats and Joyce are incapable of meeting the demands of the novel’s post-apocalyptic wasteland, yet McCarthy’s own literary vision is measurably conditioned by these predecessors. In momentarily borrowing their “eyes” at heightened junctures of the novel, McCarthy stylistically forges ways of seeing that both intensify the atmosphere of melancholic despair and proffer a small measure of resistance amidst a “world shrinking down about a raw core of parsible entities.”

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 Abstract

키워드

저자

• Kelly S. Walsh [ 연세대학교 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  미국소설 [마크 트웨인 리뷰]

• 간기

  연3회

• pISSN

  1738-5784

• 수록기간

  1991~2020

• 등재여부

  KCI 등재

• 십진분류

  KDC 843 DDC 813