Abstract

Does fiction function as archive or as repertoire? Diana Taylor's distinction between these two modes of memory fails to fully explore fictional attempts to capture a repertoire of performance within the archival page, while Toni Morrison's Song of Solomon, Janet Frame's The Carpathians, and Jose Saramago's All the Names posit the novel as a site where repertoires of embodied knowledge can be captured within the literary archive, producing memory as a powerful presence by interring its mediated images within the silent page. A comparison of these novels suggests the richly paradoxical relationships among fiction, cultural performance, and memory.

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