Author Description

This Study Analyses Post-romantic Prose Whose Authors-in Terms Of Race, Gender, Class, Nationality And More-occupy A Range Of Subject-positions, For, In It, The Dialectical Interplay Of Spontaneity With Form. Modern Literary Prose Has No Rhetorical Repertoire, Unlike Poetry No Structures (beyond Those Of Grammar) One Could Tabulate. As A Result, It Becomes A Zone Of Experimentation As To What Spontaneous Creativity Might Be Like, As Well As A Means To Investigate The Concept Of Spontaneity, Understood As Post-secular. Heeding Separate Histories And Peculiar Particularities, My Readings Nevertheless Conjointly Foreground A Literary Shaping That Reveals Writers Discovering Their Ideas As They Go, In A Prose Whose Sound, Rhythm, Syntax And Imagery Escapes The Preordained And Makes Intensely Available To The Reader-and Therefore Both Contagious, And Vulnerably Susceptible To Demurral-the Experiential Morphing Of Impulse Into Structure. There Are Chapters On William Hazlitt, Ralph Waldo Emerson And Walt Whitman (and Hindu Philosophy), Gerard Manley Hopkins, Herman Melville, D.h. Lawrence And Saul Bellow, Virginia Woolf And Marion Milner, Gwendolyn Brooks, Adil Jussawalla, And Chimamanda Ngozi Adichie. These Writers Are Intelligently Vexed By Two Transitions: First, The Movement From Impulse Into Form; And Second, The Overlap Between Literary Forms And Social Forms. They Explore The Yearning For Renovated Societies Which, Expressive Of Our Deepest Selves, Would Also Enable Those Selves (in Times Of Panicked Fragmentation, Moral Relativism, And Communication Imperilled) To Interact As Citizens--