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However, given that Hollinghurst’s own approach to fiction is less radically innovative than his predecessor’s, the opening citation offers other possibilities of interpretation.This initial allusion to the cinema, right from the paratext, prepares the reader for an intersemiotic experience. Vous recevrez un email à chaque nouvelle parution d'un numéro de cette revue. Interestingly, Hollinghurst introduces a subtle distinction between the “gay novel,” in which the homosexual condition features prominently, and a process of “homosexualization” that would be predicated upon a particular viewpoint, at odds with that of the majority of readers and, by extension, of society at large. The same prohibition drove Ronald Firbank, whom Hollinghurst elects as his literary forerunner, into a career of international nomadism. Firbank’s difficult inconsequential manner is part of a bigger subversion of the novel, and what is in many ways a homosexualization of the novel. Forster, ultimately, to relinquish the novel, as a form that could not legally treat of a subject that was of paramount importance to its author.Because the transport workers can only go about their jobs when no travelling takes place, even if their lives depend on travels, their anonymous presences are mentioned, to introduce the motif of “inverted lives” (, are also used as a spatial metaphor for lineage.Amidst the frenzy of his life of debauchery, William Beckwith is occasionally attracted by the straight lines of a neighbouring park, which calls back to his mind the soothing influence of his grandfather’s estate, with its miles of unswerving beech rides.

But, later on, when he discovers that Nantwich was sent to jail for indecency, as a result of his own grandfather’s purge against homosexuals, he decides that he cannot go ahead with a literary project, that involves him so personally: “‘All I could write now,’ I said, ‘would be a book about why I couldn’t write the book’”( can be read as the aborted attempt, by a young gay man from the early ’80s, to write the biography of one of his predecessors from the ’20s and ’30s.

This was the expedient the government had found to get rid of him, as Director of Public Prosecution, after his 260, original italics).

Not only is Will’s line of ascendancy not straight, and his claim to the title of Third Viscount of Beckwith, skewed by his progenitor’s fanatic notion of turning England into a “straight nation,” but the novel further demonstrates how the young man’s successive plans go all awry.

Precisely, Hollinghurst’s literary enterprise can be best described as a wilful, deliberate decision to impose a homocentric perspective on the novel genre: “To write about gay life from a gay perspective unapologetically and as naturally as most novels are written from a heterosexual position.

[Something that] hadn’t really been done.” (“I don’t make moral judgments.”) Strangely though, it could be contended that this bid for novelty is, paradoxically, what qualifies Hollinghurst as a writer of the Tradition, even if it is a tradition on the margin of the mainstream. It epitomizes both the relation to tradition, and the swerve from the heterosexual norm.

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