ABSTRACT
In her recent novel Border Crossing, Pat Barker painted two scenes becoming all too familiar within the iconic order of contemporary culture:
He switched on the news. The Kelsey murder was the second item. Closeups of flowers left at the scene of the crime, blowzy chrysanthemums, 'Love' in blue ink dribbling down a wet card. Then pictures of a white van accelerating rapidly, pursued by angry crowds.
(Barker 2001: 176)