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      Oulipian Games, Transpersonality, and the Logic of Potentiality in David Mitchell’s Ghostwritten
                        
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      Chapter

      Oulipian Games, Transpersonality, and the Logic of Potentiality in David Mitchell’s Ghostwritten 1

      DOI link for Oulipian Games, Transpersonality, and the Logic of Potentiality in David Mitchell’s Ghostwritten 1

      Oulipian Games, Transpersonality, and the Logic of Potentiality in David Mitchell’s Ghostwritten 1 book

      Oulipian Games, Transpersonality, and the Logic of Potentiality in David Mitchell’s Ghostwritten 1

      DOI link for Oulipian Games, Transpersonality, and the Logic of Potentiality in David Mitchell’s Ghostwritten 1

      Oulipian Games, Transpersonality, and the Logic of Potentiality in David Mitchell’s Ghostwritten 1 book

      BySusana Onega
      BookTransmodern Perspectives on Contemporary Literatures in English

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      Edition 1st Edition
      First Published 2019
      Imprint Routledge
      Pages 20
      eBook ISBN 9780429243639
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      ABSTRACT

      The publication of Ghostwritten (1999) established David Mitchell as an audacious, thrilling, and entertaining young British writer. Mitchell’s prize-winning first novel combines a wealth of intertextual echoes to a whole range of earlier writers, genres, and modes, as well as to a plethora of disparate socio-cultural, political, religious, and scientific disciplines. Divided into nine chapters and a short coda, and narrated in the first person by characters of various nationalities and cultures living all over the world, the novel sets the physical displacements of the characters against their own disparate idiosyncrasies, thus bringing to the fore the areas of friction and rupture taking place in our globalized world. The article seeks to demonstrate that Ghostwritten shares with Raymond Queneau, Georges Perec, Italo Calvino, Jorge Luis Borges, and other members of the OuLiPo not only the love of games, puzzles, and language play, but also their programmatic attempt to reconcile C.P. Snow’s ‘two cultures’, and so, that the form, characterization, and ideology of the novel respond to the holistic and transcendent approach to human knowledge advocated since the 1980s in all areas of study, which may be said to form part of the shift towards the Transmodern paradigm.

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