Srijani Chowdhury1 & Lata Dubey2
1Research Scholar, Department of English, Banaras Hindu University. ORCID id: 0000-0002-8970-8341. Email id: srijani10@bhu.ac.in, srijani24@gmail.com.
2Professor, Department of English, Banaras Hindu University. ORCID id: 0000-0002-3581-881X. Email id: ldvnsi@gmail.com, latadubey@yahoo.com.
Volume 13, Number 2, 2021 I Full-Text PDF
DOI: 10.21659/rupkatha.v13n2.46
Abstract
The English Country House happens to be one of the most iconic topoi in English literary studies. Since narratologists have long privileged time over space, narrative space remained a relatively unexplored territory until the twentieth century, which intensified the interest in the house as the thematic fulcrum of literary works. British novelist Sarah Waters’s first venture into the realm of the sub-genre of English Country House fiction, The Little Stranger (2009) is a befitting discourse that appropriates the poetics of manorial space. Hundreds Hall, the Warwickshire seat of the Ayreses, encapsulates many roles as the epicentre of the story and as a powerful symbol of the gradual decay of English aristocracy in the post-World War II Britain. The article will try to incorporate Gaston Bachelard’s spatial criticism elaborated in his The Poetics of Space (1958) and the concept of heterotopia by Foucault for the interpretation/ (s) of the narrative. The study seeks to locate Bachelard’s bourgeoisie points of view, which the author subverts by portraying the rise of the proletariat. The focus of the article is to highlight the ingenuity of Waters’s creative process, which resorts to the genre of English Country House fiction to capture the condition of British aristocrats in a time of crises.
Keywords: English Country House fiction, bourgeoisie points of view, rise of the proletariat