The palimpsestuous face of the other: Homoerotic memory in Alan Hollinghurst’s the Stranger’s child

This paper contends that Alan Hollinghurst’s The Stranger’s Child (2011) revises Sarah Dillon’s renegotiation of De Quincey’s “palimpsest” and Emmanuel Lévinas’s “Face of the Other” to deal with the working of (homoerotic) memory. In joining the palimpsest and the Face of the Other as metaphors of t...

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Detalles Bibliográficos
Autor: Yebra, J.M.
Tipo de recurso: artículo
Estado:Versión publicada
Fecha de publicación:2019
País:España
Institución:Universidad de Zaragoza
Repositorio:Zaguán. Repositorio Digital de la Universidad de Zaragoza
OAI Identifier:oai:zaguan.unizar.es:98235
Acceso en línea:http://zaguan.unizar.es/record/98235
Access Level:acceso abierto
Descripción
Sumario:This paper contends that Alan Hollinghurst’s The Stranger’s Child (2011) revises Sarah Dillon’s renegotiation of De Quincey’s “palimpsest” and Emmanuel Lévinas’s “Face of the Other” to deal with the working of (homoerotic) memory. In joining the palimpsest and the Face of the Other as metaphors of the invocation and resurrection of Cecil Valance - the hero and tutelary spirit of the novel - I argue that the politics of remembrance and representation in The Stranger’s Child shift, and change us as readers as well. From being a closeted gay WWI poet to becoming an early-twenty-first-century relic, Valance works as a “palimpsestuous face” that returns our gaze and forces us to renegotiate our relation with the past and the Other.

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