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AbstractHistoryArchive Description
The essay examines imaginative strategies employed in the attempt to represent the experience of death. Some of Maurice Blanchot's theories about death and dying are utilised to 'negotiate the spaces of absence and death' that inform Alex Miller's The Sitters and Noel Rowe's poem 'Next to Nothing'.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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The Presence of Absence in The Sitters
2012
single work
criticism
— Appears in: The Novels of Alex Miller : An Introduction 2012; (p. 78-88) 'In the second paragraph of Alex Miller's The Sitters (1995) the narrator informs us that his memory of Jessica Keal allows him 'to approach the last enigma of my life - my family and my childhood. That cold legacy of silence and absence' (2). Bernadette Brennan's fine essay on The Sitters, in the context of Maurice Blanchot's meditations on death, notes that the narrator never explains 'why his experience with Jessica has given him the energy to begin painting...his childhood' (104). That it does so is indisputable, and Peter Pierce points us in the right direction, in his article on 'The Solitariness of Alex Miller', when he observes that Jessica functions as 'a Wordsworthian trigger to recover past 'spots of time'' (305). The connection between the frame of the entire narrative - and I use the word 'frame' not only to indicate a narrative frame but also in the sense of a picture frame, since this is a novel that foregrounds the connections between literary and visual art, between a novelist creating a character and a painter creating a portrait.' (Author's introduction 78)
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The Presence of Absence in The Sitters
2012
single work
criticism
— Appears in: The Novels of Alex Miller : An Introduction 2012; (p. 78-88) 'In the second paragraph of Alex Miller's The Sitters (1995) the narrator informs us that his memory of Jessica Keal allows him 'to approach the last enigma of my life - my family and my childhood. That cold legacy of silence and absence' (2). Bernadette Brennan's fine essay on The Sitters, in the context of Maurice Blanchot's meditations on death, notes that the narrator never explains 'why his experience with Jessica has given him the energy to begin painting...his childhood' (104). That it does so is indisputable, and Peter Pierce points us in the right direction, in his article on 'The Solitariness of Alex Miller', when he observes that Jessica functions as 'a Wordsworthian trigger to recover past 'spots of time'' (305). The connection between the frame of the entire narrative - and I use the word 'frame' not only to indicate a narrative frame but also in the sense of a picture frame, since this is a novel that foregrounds the connections between literary and visual art, between a novelist creating a character and a painter creating a portrait.' (Author's introduction 78)
Last amended 29 Jan 2009 17:04:20
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