ABSTRACT
This chapter discusses James Joyce's and other portraits of artists as displaced authors. John Bratby's Window, Self-Portrait, Jean and Hands depicts, entering from the lower edge, a number of hands holding a paint brush. It would make sense to call these Bratby's Hand, and it reminds that the artist is implicitly present in his work, however omniscient and impersonal he may pretend to be. John Fowles puts himself into his The French Lieutenant's Woman. Towards the end of the novel, a mysterious stranger enters a railway carriage and stares at the novel's hero, Charles. The quasi-autobiographical nature of Mann's Death in Venice has long been recognised. In it Mann projects himself in part as an established figure threatened by the rising generation of writers and by the consequences of his own growing aesthetic, his preoccupation with a beauty which may bring with it its own homoerotic psychopathology.
