By Paul Crawford
Politics and heritage in William Golding presents a far wanted politicized and historicized analyzing of William Golding's novels as a counter to earlier, universalizing feedback. Paul Crawford argues that an figuring out of amazing and carnivalesque modes in Golding's paintings is essential if we're to understand absolutely his interrogation of twentieth-century existence.
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This is not the case. Indeed, while there is a potential conflict between formalist and historicist readings—the one rooting texts in literary conventions or models, while the other roots texts in particular social and political contexts—this is not inevitable. We can reconcile or connect the two in a synthetic way. We know, for instance, that Golding was deeply read and interested in early literary models, such as Menippean satire, and that he was tremendously affected by various social traumas or upheavals, not least the Holocaust and the cold war.
Kinkead-Weekes and I. Gregor, William Golding: A Critical Study, 118. For a critique of Kinkead-Weekes and I. Gregor’s methodology in mapping Golding’s artistic development, see Redpath, Structural Reading, 205–6. Dick, William Golding (1987), 124; Hodson, William Golding, 106; Don Crompton, A View from the Spire: William Golding’s Later Novels, 187. 18 POLITICS AND HISTORY IN WILLIAM GOLDING comedy after The Spire. Whatever the classifications of Golding’s fiction, pure or mixed, most critics have reached a consensus in diagnosing a shift away from a tragic, didactic form toward a more inclusive, tragicomic form; this is a shift that might be seen in terms of a movement from a noncelebratory to a celebratory relativism.
I floated in their world, holding on to a casual hand, sometimes sinking again in the dark. Then I found Edgar Allan Poe’s Tales of Mystery and Imagination. I read them with a sort of shackled fascination and recognized their quality, knew they were reports, knew that he and I had been in the same place. (HG, 170) 12. See Biles, Talk, 18; and Peter Brooks, The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess, 19. 13. Ziólkowski, Disenchanted Images, 242. 35 Menippean Satire, Fantastic, and Carnivalesque This fascination with the mysterious and supernatural found a natural contradiction in Golding’s misdirected choice to study science at Oxford, a choice he quickly revoked by transferring to English instead.