“Down-and-Outs, Subways and Suburbs: Subversion in Robert McLiam Wilson's RipleyBogle (1989) and Colum McCann's This Side of Brightness (1998)”
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2010
- handle: 10670/1.pbyhss
- isbn: 9789042028289 9042028289 9789042028296 9042028297
- hal: hal-01913551
info:eu-repo/semantics/OpenAccess
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Legends and stories Novels Stories Speaking Conviction Railroads, Underground Underground railroads Suburbia Outskirts of cities Suburban areas Service of process Service of papers Abuse of process Process Novels Fiction--Plots Dramatic plots Drama--Plot Scenarios Museums--Technique Museology Administration Irishmen (Irish people) Article Novels Novellas (Short novels) Fiction--Philosophy Metafiction Stories Ethnography Races of man Social anthropology Cultural anthropology Shape Forms (Shapes) vérité (concept)Citer ce document
Marie Mianowski, « “Down-and-Outs, Subways and Suburbs: Subversion in Robert McLiam Wilson's RipleyBogle (1989) and Colum McCann's This Side of Brightness (1998)” », HAL-SHS : histoire de l'art, ID : 10670/1.pbyhss
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The notion of subversion that interests me in this article, should not therefore be understood in its political revolutionary meaning but rather more literally as version or view, in the sense that both novels present the reader with two versions from the underground, two versions from homeless voices, victims of exclusion. The reader is left wondering about the version of the world voiced out. The versions that emerge, – the subversions of the topside – need to be rewritten so as to fit reality and truth. On the whole, it is the very process of emerging that is at the source of both Ripley and Treefrog’s respective re-creations, as if their Irish identities first needed to take shape through a subversive voice before being given a chance to emerge newly and fully bloom out in the open.