By B. Finney
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Additional resources for English Fiction Since 1984: Narrating a Nation
Sample text
While Barnes is clearly isolating some recurrent characteristics of human behavior (a proclivity for class or caste distinctions and prejudice), he is more interested in raising questions. He claims to agree with Flaubert’s dictum, which Barnes paraphrased for one interviewer: “The desire to reach conclusions is a sign of human stupidity” (Interview with McGrath 23). The questions that Barnes raises in this book nevertheless show a relatedness, though one that is problematized. The same motif —the division between the clean and the unclean—occurs in the third of the three stories comprising Chapter 7.
In the first place, the opening half of Charles’s sentence has been lifted verbatim from the catalogue to the exhibition of Art Brut at the art gallery where Charles’s wife, Vivien (cf. Vivien Eliot), works (cf. 109–10). In the second place, Ackroyd himself is indebted to his own earlier novel, The Last Testament of Oscar Wilde, in which he has Wilde describe Chatterton as “a strange, slight boy who was so prodigal of his genius that he attached the names of others to it” (67). This in turn is indebted to the real Wilde’s lecture of March 1888 on Chatterton: “He had the artist’s yearning to represent and if perfect representation seemed to him to demand forgery he needs must forge.
Invoking this term allows Barnes to elide the distinction between relation and fabrication, history and story. He is as willing to invent events that represent some of the omissions from history as he is to retell other well-known historical narratives from the point of view of the losers and victims. Barnes then is convinced like Benjamin that history is, as Benjamin put it, “one single catastrophe which keeps piling wreckage upon wreckage and hurls it at our feet” (Illuminations 257). In one interview Barnes compared history to a “24-wheeler that’s bearing down on us all the time” (Saunders G-8; cf.
