By Jonathan Coe
A contact of Love is Jonathan Coe's delightfully comedian and relocating novel approximately no longer becoming in.
Robin, a postgraduate scholar in Coventry, has spent 4 and a part years now not writing his thesis. He and his educational colleagues, united by means of pallor, social ineptitude and sexual inexperience, as soon as spent hours discussing their theories, yet they by some means by no means made it into print.
Now his unfinished thesis languishes in a drawer, and Robin hides in his room, more and more anxious by means of an international he doesn't comprehend. His buddies have failed him and romance eludes him. His basically outlet is his brief tales, scribbled in notebooks and expressing his mystery obsessions and frustrations.
Then, whilst an unlucky and embarrassing incident in a public park lands him in deep trouble, Robin's lifestyles eventually spirals uncontrolled. . .
A contact of Love is an excellent, bittersweet publication that might be loved by means of readers of David Nicholls, Nick Hornby and enthusiasts of comedian fiction.
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Extra info for A Touch of Love
Stephen’s egoism prevents him from recognizing such contingency and complexity. He proudly claims as an ambition at the novel’s close “to forge in the smithy of my soul the uncreated conscience of my race” (P, 253). This agenda follows perfectly from his aesthetic theory in that it proposes to subsume an entire nation to the artist, as if there could be no life in Ireland without Stephen’s daedalian dispensation (this scene will be discussed from a different perspective in chapter 4). Stephen’s formulation of his aesthetic theory can be read as a descriptive summary of the mechanics of free indirect discourse in A Portrait.
The narrative is no longer purely personal. The personality of the artist passes into the narration itself, flowing round and round the persons and the action like a vital sea . . The dramatic form is reached when the vitality which has flowed and eddied round each person fills every person with such vital force that he or she assumes a proper and intangible esthetic life. The personality of the artist, at first a cry or a cadence or a mood and then a fluid and lambent narrative, finally refines itself out of existence, impersonalizes itself, so to speak.
Since interpretation is for Nietzsche necessarily a creative act, the experiment is an exercise in creating and continually recreating oneself and, concomitantly, one’s world. As Nietzsche puts it in The Gay Science, “we want to be the poets of our life” (GS, §299). Elsewhere in The Gay Science, Nietzsche elaborates “ultimate skepsis”: “What are man’s truths ultimately? Merely his irrefutable errors” (GS, §265). What is true for one individual is still in many other ways a mistake. The way to realize the provisionality of any individual truth claim is through human interaction and engagement with the world, that is, through an acceptance of contradiction: Everybody knows nowadays that the ability to accept criticism and contradiction is a sign of high culture.
A Touch of Love by Jonathan Coe