A.S. Byatt and the Heliotropic Imagination

Index

299 Index academe, 249–50 and ideology, 15, 16–17, 20; satire of, 216, 221, 222; sexism in, 19, 28, 79, 81, 83–85, 126–27, 174, 176, 247, 256 Adamson, William (character), 7, 10, 215, 281n3. See also “Morpho Eugenia” Alexander, Flora: Contemporary Women Novelists, 3, 73 Alfer, Alexa, 72; Essays on the Fiction of A.S. Byatt: Imagining the Real, 3 allegory, 6, 116, 122, 157 Amidon, Stephen, 283n1(11) Amis, Kingsley, 28; Lucky Jim, 28, 77 analogy, 7, 150, 154, 158, 163, 168, 217, 218, 221, 281n6 Anderson, Linda, 108 Angels and Insects (Byatt), 1, 3–4, 21–22, 215, 277n2(1); genesis of, 3, 7, 216; genre in, 5, 148, 217; structure in, 96, 166–68, 232. See also “Conjugial Angel”; “Morpho Eugenia” A-Oa (character), 89, 206. See also Sugar Arabian Nights, 184, 185 Armstrong, Isobel, 276 Arnold, Matthew, 29; “Dover Beach,” 263 art: and gender, 171–74, 186, 201, 203–206, 278n4, 279n1, 280n2; and interpretation, 122, 202–203; and life, 194, 211–12; and meaning, 232, 267; and reality, 32, 48, 58, 66, 81, 93, 102, 266–67, 276; and representation , 70, 71, 90–91, 173–74; and self, 11–12, 208. See also painting Ash, Ellen (character), 280n3. See also Possession Ash, Randolph Henry (character), 12, 21, 23, 275. See also Possession Atwood, Margaret: Edible Woman, 16; Lady Oracle, 136 Auden, W.H., 244 Austen, Jane, 24; Emma, 163; Mansfield Park, 14, 20, 244 autobiography, 103, 105, 107, 224–25 Babel Tower (Byatt), 3, 4, 24, 64, 215–16, 266; art in, 61, 232, 247; cultural context in, 232, 235–36, 240–41,245, 262, 283n2(12); language in, 22, 232, 234, 236, 239–43, 244–46; reviews of, 234, 238–39, 242, 262, 283n2(12); structure of, 5, 68, 232–39; women’s freedom in, 2, 242–43, 245–46. See also “Powerhouse” quartet Bailey, Sophia (character), 276. See also Possession Bailey, Maud (character), 7, 12, 20–21, 256, 267, 275–76. See also Possession Balzac, Honoré de, 16 Barker, Pat, 17 , 18 Barthes, Roland, 15 Baulk, Herbert (character), 24. See also Possession Bayley, John, 283n1(11) Bemrose, John, 239 Bhaktin, Mikhail, 14 Bildungsroman, 28, 32, 34, 61 Biographer’s Tale, The (Byatt), 1, 4, 231; classification in, 217–18, 221–23; critiques literary theory, 5, 216, 219, 222, 224–26; language in, 220, 223–24, 227–29; narrative in, 218–19, 220; reviews of, 4, 215, 216–17, 283n1(11); structure in, 4–5, 96, 215, 216–17, 219–21, 228, 232; writing in, 220–21, 224–27 biography, 7, 97, 108, 224–25, 226; and criticism, 15, 47 Blake, William, 165, 242; “Infant Sorrow,” 244; Songs of Experience, 241; Songs of Innocence, 241 Bloom, Harold, 91 Borges, Jorge Luis, 71 Botticelli, Sandro: Primavera, 63 Bowen, Elizabeth, 27–28, 29 Bradbury, Malcolm, 46, 49 Braun-Jackson, Sally, 282n2(9) Bray, Emily (character), 83–85, 279n1. See also Sugar Brink, André, 23, 144, 271–72, 276, 280n2 Bronfen, Elisabeth, 272, 280n4 Bronson, Mrs. (character and historical persona), 98–101. See also Sugar Brontë, Charlotte: Jane Eyre, 210, 255; “Retrospection,” 55 Brontë, Emily, 55 Brophy, Brigid, 129 Brown, Ford Madox: The Last of England, 155 Brown, Norman O., 244 Browning, Robert, 7, 16, 23, 96–103, 142, 144, 280n5; “De Gustibus—,” 96; Dramatis Personae, 110; “Inapprehensiveness,” 99, 102; “The Lady and the Painter,” 102; “Mr. Sludge, the Medium,” 109; The Ring and the Book, 97, 103, 109. See also “Precipice-Encurled” for Browning as character Burgess, Anthony, 239 Burne-Jones, Edward, 122 Butler, Marilyn, 148 Buxton, Jackie, 271 Byatt, A.S., 245–46; ambivalence on feminism, 4, 5, 15–25, 176, 179, 254, 282n2(8); ambivalence on postmodenism , 272; ambivalence on poststructuralism, 13, 17, 20, 219, 271; artistic development of, 2, 4, 66–67, 169, 232; on characters, 9–11, 21, 47, 49, 73–74, 112, 128, 158, 236, 264, 278n9; characters speak for, 23, 33, 58, 64, 67, 70–71, 82, 93, 100, 103, 166, 177, 218, 219–20, 229, 243, 262, 266, 278n7, 281n1(8); classification of, 2, 17, 22; and contingency, 8, 53, 70; on Darwin, 148; and demythologized world, 6–7; fairy tales by, 5, 10, 25, 115–16, 123; as feminist writer/critic, 1–2, 21, 24, 25, 116, 163, 180, 280n2; on God, 13–14; and heliotropic metaphor, 2, 16, 21, 25; on identity, 11–14, 19–21, 262; and images, 19, 168; influences on, 5–6, 8–9, 11, 14–16...