Written as a collection of letters in which very different accounts
of the action are unsupervised by sustained authorial comment,
Richardson's novel Clarissa offers an extreme example of the
capacity of narrative to give the reader final responsibility for
resolving or construing meaning. It is paradoxical then that its
author was a writer committed to avowedly didactic goals. Tom
Keymer counters the tendency of recent critics to suggest that
Clarissa's textual indeterminacy defeats these goals by arguing
that Richardson pursues subtler and more generous means of
educating his readers by making them 'if not Authors, Carvers' of
the text. Discussing Richardson's use of the epistolary form
throughout his career, Keymer goes on to focus in detail on the
three instalments in which Clarissa was first published, drawing on
the documented responses of its first readers to illuminate his
technique as a writer and set the novel in its contemporary
ethical, political and ideological context.
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