THE DEVELOPMENT OF THE ARTISTIC SELF

This, too, is a conceit of literary concealment.

An understanding of these authors' evident preoccupation with homosexuality on 1 hand and also the deliberate concealment of it over a other is interesting if 1 is to realize the depth and form of aesthetic commitment on the concept of elaborating the artist's self. Each Remembrance as well as the Immoralist are profoundly very own works, the former as an acknowledged autobiographical mode and the latter being a deliberate presentation with the complex psychology of current life. The Immoralist is much less frankly a detailed autobiography, while you can find parallels among Michel's marriage and that of Gide. But in both cases the powerful portrait of the single Self predominates, and the Self in literature mirrors the author's conceptions of his unique Self, his time and universe. He is present behind all his protagonists, who reflect the conflicts he suffers, the queries he seeks to solve, the paradoxes he encounters, the apparent chaos of his unique existence. The author is essentially dealing with problems of identity: his own and, therefore, mankind's. And exactly where Gide, Proust, and Genet are concerned, there's a progressively frank unfolding, from implication to explication to elaboration, with the homosexuality that 1 must presume was an inescapable and principal truth of their selfhood.

If the globe were full of absolute answers to searchingly complex questions, a single could say this can be why he hesitates being a man, but Ulrich's fundamental insight is that the globe is unremittingly confusing, and so have to own psychology be. He has occur to his insight gradually but ineluctably; Ulrich concludes that he have to needs consider in nothing. That's some thing of a moral imperative, as Camus will later note in his analysis on the Absurd. But then that may be the irony of a world that lacks or much more exactly has betrayed the possibility of moral imperative. Ulrich's analytical abilities are beyond question, but his response towards analyses he creates is dissociative not just of social-reformist potentialities but also of himself.

But whatever the commercial fate of Kafka's labors, one can say this for Kafka, that he did not shrink from exploring in fiction the constituents or consequences of isolation actually or fiction. Being sure, his evocation of phenomenal reality is skewed, and his rejection of verisimilitude is absolute; nobody is "really" going to burrow and burrow instead of project oneself into the world. But inside terms from the environment and psychology he creates, he does not deny its primary attribute: paranoia and self-destruction. Yes, the burrow builder locks himself in. Yes, the burrow builder is distorting reality--and by the way the reader who engages with the jobs is cooperating in the distortion. Yes, the burrow builder fears change. But that is certainly what the story is about, as well as the Burrow explores the contradictions of perception how the rather smugly paranoid builder encounters.

From Proust to Gide to Genet, the line is clear. A progressively obvious presentation of homosexuality like a defining feature of self is often a defining feature in the jobs of these modernist writers. As the projection of the homosexual identity becomes increasingly direct, it becomes too increasingly current and increasingly nihilistic. By the time from the Maids

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