By C. Franken
This ebook considers the paintings of the novelist and critic A.S. Byatt within the context of up to date debates approximately paintings, authorship, creativity, and gender. A.S. Byatt emerges as an writer who provides us with attention-grabbing and ambivalent snap shots of writers and who makes use of metaphors of creativity in unique methods.
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Additional info for A. S. Byatt: Art, Authorship, Creativity
In the middle of the narrative she explains the problems and obstacles she had to overcome in order to be able to write at all and in order to legitimize her chosen profession. The end of the foreword records how she managed to write through the obstacles: ‘but I did go on from there’. 3 The structure of the foreword – genesis, blockage, and release – is a traditional one and lends itself well to a descriptive account of a writing career. What makes the text interesting and so unlike Byatt’s critical work is the distribution of space and weight over the three separate stages.
Therefore, it is the case that the part of The Turtle and Its Adversaries 31 Leavisite criticism which did inﬂuence her has barred her from an agreement with the basic tenets of post-structuralist theories of writing and literature. For Byatt counteracts post-structuralism by defending the concept of creative identity, a concept which she equates with individualism, self-sufﬁciency, separation and isolation; in short, with a concept which bears more than a superﬁcial similarity to the writer as ‘genius’.
Anna, who is waiting in the bathroom for this to happen, is unexpectedly joined there by Oliver. He kisses her for the ﬁrst time. The next morning the weather changes permanently to autumn; Oliver and Margaret Canning return to London where they live.
A. S. Byatt: Art, Authorship, Creativity by C. Franken