ANYTHING WRITTEN IN ENGLISH IS A LIE
Anything written in English is a lie. This is by no means a new idea, with many people having given thought and expression to it (recently and rather extensively so, for instance, Jeanette Winterson). One way to handle this sentence is to relate it to the idea that something written can never be reality. That then, though, some things written (or only fictional texts?; or even fictional texts?; or anything produced?) might have a reality of their own, and that finally these realities might be part of another, larger and encompassing reality – they might. There need not be such a larger idea beyond things. All novelists have been faced with the question of how to deal with this multilayered reality, novels that deal with it explicitly being called metafictional novels. Metafictional literature has come up with innumerable ways of handling and playing with the notion of what is being real and what fictitious.
Anything written in English is a lie. This sentence is also putting into other words the famous paradox of the Cretan stating that all Cretans are liars. For with both, as with many other paradoxes, the paradox is a result of the statement′s self-reference. Since the statement is written in English, it denies its own truth, which it actually does not if it is a lie – it would stop being a lie then, though. Any attempt to solve the paradox will end in moving in circles. The only way not to go insane when trying to find a solution is to accept that the sentence is made up and that it cannot be true in terms of our familiar logic. Once we view it as artificial, as something that has been made up to be not solvable (which need not be the case), we adopt another perspective and for instance allow ourselves to be entertained by contemplating paradoxes.
Confronted with any paradoxical or otherwise inexplicable situation human beings still feel an urge to ascribe explanations and reasons to it and often turn to religion, commonplace theories or superstition to find them. Religions explain how the Earth came into existence. If we drop a cup or spill hot milk, it happened because our boss was being a strain. If we got an unjustified salary rise, the stars would have favoured us. A religious woman might regard it as God’s punishment when she falls in love with her husband’s lover. Seldom are we at a loss for an explanation which we may well believe in but which cannot be proved to be causative...
Table of Contents
- 0 ANYTHING WRITTEN IN ENGLISH IS A LIE
- 1 METAFICTION
- 2 WHAT'S SPARK GOT TO DO WITH IT
- 2.1 NARRATORS ARE LICENCED LIARS ...
- 2.1.1 OVERT AND HIDDEN FICTITIOUSNESS
- 2.1.1.1 The Comforters
- 2.1.1.2 Loitering with Intent
- 2.1.1.3 A Far Cry from Kensington
- 2.1.2 PLOTTING, BLACKMAILING AND PLAYING GOD
- 2.1.1 OVERT AND HIDDEN FICTITIOUSNESS
- 2.2 ... AND OBLIGED ONES AT THAT: POETIC VISION
- 2.3 GOD AUTHOR AND HUMAN CHARACTERS AND READERS
- 2.4 SPARK'S POST-MODERNISM
- 2.5 GOD, THE AUTHOR, AND HUMAN BEINGS
- 2.5.1 RELIGION AND FAITH
- 2.5.2 IRONY AND SATIRE: IT'S NOT ALL YOU
- 2.1 NARRATORS ARE LICENCED LIARS ...
- 3 CONCLUSION
- 4 LIST OF WORKS CITED AND CONSULTED
Objectives and Key Themes
This paper examines the metafictional aspects within selected novels by Muriel Spark. The objective is to analyze how Spark utilizes metafictional techniques to explore the complex relationship between fiction and reality, and how this relates to her exploration of themes of authorship, faith, and the human condition.
- The interplay between fiction and reality in Spark's novels.
- The role of the author and narrator in constructing fictional worlds.
- The use of paradox and self-referentiality in Spark's metafictional narratives.
- The exploration of religious and philosophical themes through metafiction.
- The employment of irony and satire to engage with the reader.
Chapter Summaries
0 ANYTHING WRITTEN IN ENGLISH IS A LIE: This introductory chapter establishes the central paradox of the paper – the inherent unreliability of written language, especially fiction. It introduces the concept of metafiction and how it grapples with the multifaceted nature of reality versus fiction. The chapter uses the paradoxical statement "Anything written in English is a lie" as a springboard to explore the inherent limitations of language in capturing reality, ultimately arguing that fictional realities, while artificial, can possess their own significance and even contribute to a larger understanding of the world. The chapter connects this concept to the inherent human tendency to seek explanations for inexplicable situations, drawing parallels between religious beliefs and the search for meaning within fictional narratives.
1 METAFICTION: This chapter provides a working definition of metafiction, drawing on Patricia Waugh's influential work. The chapter sets the stage for a deeper analysis of Spark's use of metafictional techniques by defining the genre and outlining its primary concerns with self-referentiality and the blurring of lines between the fictional and the real. This establishes the critical framework that will be used throughout the paper to analyze Spark's chosen novels.
2 WHAT'S SPARK GOT TO DO WITH IT: This chapter delves into the specific application of metafictional strategies in Spark’s novels, particularly focusing on *The Comforters*, *Loitering with Intent*, and *A Far Cry from Kensington*. The chapter discusses Spark's presentation of narrators as "licensed liars," exploring how her characters manipulate and construct narratives, mirroring the author's own creative process. The chapter examines the complex relationship between author, character, and reader, highlighting how Spark uses metafiction to challenge conventional notions of storytelling and authorial control. The chapter also touches upon the role of faith, religion and satire in Spark's novels, and introduces the concept of the author as a 'God-like' figure shaping the fictional world.
Keywords
Metafiction, Muriel Spark, Fiction, Reality, Author, Narrator, Paradox, Self-referentiality, Religion, Faith, Irony, Satire, Literary Technique, Narrative Strategy.
Frequently Asked Questions: A Comprehensive Language Preview
What is the main focus of this academic paper?
This paper examines the metafictional aspects in selected novels by Muriel Spark. It analyzes how Spark uses metafictional techniques to explore the complex relationship between fiction and reality, and how this relates to her exploration of themes of authorship, faith, and the human condition.
What are the key themes explored in the paper?
The key themes include the interplay between fiction and reality in Spark's novels; the role of the author and narrator in constructing fictional worlds; the use of paradox and self-referentiality; the exploration of religious and philosophical themes through metafiction; and the employment of irony and satire to engage with the reader.
Which novels by Muriel Spark are analyzed in this paper?
The paper specifically analyzes The Comforters, Loitering with Intent, and A Far Cry from Kensington to illustrate Spark's use of metafictional strategies.
What is metafiction, and how does the paper define it?
The paper provides a working definition of metafiction, drawing on Patricia Waugh's work. It defines metafiction as a genre concerned with self-referentiality and the blurring of lines between the fictional and the real. The paper uses this definition as a critical framework to analyze Spark's novels.
How does the paper describe the role of the narrator in Spark's novels?
The paper describes Spark's narrators as "licensed liars," highlighting how they manipulate and construct narratives, mirroring the author's creative process. This reflects the exploration of the complex relationship between author, character, and reader.
What is the significance of the statement "Anything written in English is a lie"?
This paradoxical statement, used in the introduction, establishes the central theme of the inherent unreliability of written language, especially fiction. It serves as a springboard to explore the limitations of language in capturing reality and the significance of fictional realities.
What role do religion and faith play in Spark's novels according to this paper?
The paper explores the role of faith, religion, and satire in Spark's novels, examining how these elements interact with the metafictional techniques employed. It also considers the concept of the author as a 'God-like' figure shaping the fictional world.
What is the overall structure of the paper?
The paper is structured into chapters covering an introduction, a definition of metafiction, an analysis of Spark's novels focusing on metafictional strategies, and a conclusion. It also includes a table of contents, objectives and key themes, chapter summaries, and keywords.
What are the key words associated with this paper?
Key words include: Metafiction, Muriel Spark, Fiction, Reality, Author, Narrator, Paradox, Self-referentiality, Religion, Faith, Irony, Satire, Literary Technique, Narrative Strategy.
- Quote paper
- Gesa Giesing (Author), 2002, Metafictional Aspects in Novels by Muriel Spark, Munich, GRIN Verlag, https://www.grin.com/document/28614
