A history of fragmentary-or interrupted-writing in avant-garde
poetry and prose by a renowned literary critic. In Interruptions:
The Fragmentary Aesthetic in Modern Literature, Gerald L. Bruns
explores the effects of parataxis, or fragmentary writing as a
device in modern literature. Bruns focuses on texts that refuse to
follow the traditional logic of sequential narrative. He explores
numerous examples of self-interrupting composition, starting with
Friedrich Schlegel's inaugural theory and practice of the fragment
as an assertion of the autonomy of words, and their freedom from
rule-governed hierarchies. Bruns opens the book with a short
history of the fragment as a distinctive feature of literary
modernism in works from Gertrude Stein to Paul Celan to present-day
authors. The study progresses to the later work of Maurice Blanchot
and Samuel Beckett, and argues, controversially, that Blanchot's
writings on the fragment during the 1950s and early 1960s helped to
inspire Beckett's turn toward paratactic prose. The study also
extends to works of poetry, examining the radically paratactic
arrangements of two contemporary British poets, J. H. Prynne and
John Wilkinson, focusing chiefly on their most recent, and arguably
most abstruse, works. Bruns also offers a close study of the poetry
and poetics of Charles Bernstein. Interruptions concludes with two
chapters about James Joyce. First, Bruns tackles the language of
Finnegans Wake, namely the break-up of words themselves, its
reassembly into puns, neologisms, nonsense, and even random strings
of letters. Second, Bruns highlights the experience of mirrors in
Joyce's fiction, particularly in Dubliners, Portrait of the Artist
as a Young Man, and Ulysses, where mirrored reflections invariably
serve as interruptions, discontinuities, or metaphorical
displacements and proliferations of self-identity.
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