By Kerry McSweeney
4 modern Novelists supply money owed of the fiction of Angus Wilson, Brian Moore, John Fowles, and V. S. Naipaul. the writer has charted the improvement of every author; pointed out dominant issues, controlling options, and informing sensibility; defined what every one has attempted to complete and examine idea to perform; supplied a suitable context for appreciation and review of all elements of every canon; and made qualitative discriminations.
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Additional resources for Four Contemporary Novelists: Angus Wilson, Brian Moore, John Fowles, V.S. Naipaul
On the other hand, while it is excellent that no false depths are plumbed, no factitious victories won, it can be argued that Meg Eliot is not a person of enough complexity or depth, or her crisis sufficiently profound, to justify such full-scale treatment. In saying so there is no need to invoke the intimidating standards of Emma, The Mill on the Floss, or The Portrait of a Lady. One may compare Meg's story to that of Kate Brown in Doris Lessing's 1975 novel, The Summer before the Dark. ) 19 Meg and Kate, both middle-aged wives of well-to-do professional men, are pleased to reflect on their enlightened and successful marriages.
For many days the only sign of such a reconnection is the discovery that after many years she still has the knack of snapping the neck of an injured rabbit. But one afternoon her depression and anxiety are brought to a head by a sudden lightning storm. Only when it begins to rain does Sylvia hear the screams of a terrified little girl standing under a solitary oak from which she rescues her. " This storm scene, in which Sylvia saves the seven-year-old Mandy Egan from death, and in so doing suffers a slight stroke, is the climactic moment in Late Call.
It is also the moment when Sylvia's childhood deprivations, which prefigured the deprivations of her adult life, are fully compensated for — a pattern of loss and gain symbolically accented by the transformation of the seven-year-old Myra Longmore into the seven-year-old Mandy Egan. The symbolic mode of this scene does ruffle the surface of a novel which otherwise flows in the channels of naturalistic realism - though Wilson excellently manages the modulation back to a realistic mode. For Mandy Egan is no Dickensian prepubescent embodiment of good, and while Sylvia's relations with her and her parents are at first intensely warm and loving, they inevitably wane as family concerns - for her failing husband and overworked son - come to reassert their priority.