By Nick Bentley
The Nineties proved to be a very wealthy and interesting interval for British fiction. This e-book provides a clean viewpoint at the varied writings that seemed over the last decade, bringing jointly prime lecturers within the field.
content material: advent : mapping the millennium : issues and developments in modern British fiction / Nick Bentley --
From extra to the recent international order / Fred Botting --
'Refugees from time' : historical past, dying and the flight from truth in modern writing / Andrzej Gasiorek --
technology and fiction within the Nineties / Patricia Waugh --
British technological know-how fiction within the Nineteen Nineties : politics and style / Roger Luckhurst --
The McReal factor : personal/national id in Julian Barnes's England, England / Sarah Henstra --
our on-line world and the physique : Jeanette Winterson's The.powerbook / Sonya Andermahr --
'Fascinating violation' : Ian McEwan's young children / Peter Childs --
'Tongues of bone' : A.L. Kennedy and the issues of articulation / Helen Stoddart --
Mr Wroe's virgins : the 'other Victorians' and up to date fiction / B.E. Maidment --
Pat Barker's vanishing obstacles / Lynda Prescott --
Singular occasions : the 'as if' of Beryl Bainbridge's each guy for himself / Fiona Becket --
Iain Sinclair's millennial fiction : the instance of gradual chocolate post-mortem / Julian Wolfreys --
Hedgemony? : suburban area within the Buddha of suburbia / Susan Brook --
Iain Sinclair : the psychotic geographer treads the border-lines / Peter Brooker.
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Extra info for British Fiction of the 1990s
PowerBook, London: Jonathan Cape. html>, accessed 1 December 2004. Part I Millennial anxieties 1 From excess to the new world order Fred Botting They got the same shit over there as we got over here, but . . there it’s a little diﬀerent In 2001, the year White Teeth appeared in paperback, a global burger corporation ran a series of commercials on British television. The format was the same for each in the series. Recognisable urban landmarks signifying London, Newcastle and Liverpool, were accompanied by a soundtrack of appropriate popular songs: ‘Maybe It’s Because I’m a Londoner’, ‘Fog on the Tyne’, ‘Ferry ’Cross the Mersey’.
The ruins of future dystopias, imagined in the 1980s, are ruins to be remade, replicated, according to new corporate imperatives: ‘more human than human’ is the slogan of the Tyrrell corporation. Social, cultural and bodily spaces are readily refashioned. With their ‘good genes’, the Chalfens are replicants, their ‘purity’ a mark of being ‘more English than the English’ (Smith 2000: 328). ‘Clones of each other’, narcissistically designed creations of ‘mirrored perfection’, their sameness played out on a plane of simulation–repetition– exhaustion: for them ‘the boredom was palpable’ (Smith 2000: 313).
The room, an exhibition–presentation–projection space serves as a fantasy screen, like the television set it resembles for Archie and Millat. The latter, ‘unfazed’, about to act, has seen it all before on TV (Smith 2000: 526). He’s worn it and played it out on the street, had its simulations on his bedroom walls, its images on his video cassettes. Half Muslim, half Hollywood gangster, Millat is torn, his very identity opened to the global signs, images and brands that have made him. For Irie, the clear space of re-imaging and rebranding occurs in another context: ‘she wanted to merge with the Chalfens, to be of one ﬂesh; separated from the chaotic, random ﬂesh of her own family and transgenically fused with another.