Summary (Masterplots II: British and Commonwealth Fiction Series)
Identification of the state with the human organism is, one of the narrators of Lanark tells the reader, a literary device at least as old as Plutarch. In this eccentric, compelling novel by a Scottish writer-painter whose sketches both illustrate and extend the text, the decay of the body politic is the controlling image. Swiftian in its intensity, Lanark is a metafictional allegory. Drawing on sources that range from Vergil to Johann Wolfgang von Goethe, from William Blake and Ralph Waldo Emerson to contemporary Scottish novelists, Alasdair Gray creates in the novel a series of worlds which function simultaneously as projections of a collective unconscious, contemporary versions of the classical underworld, and embodiments of a grim, antiutopian social vision. Literary allusions, echoes, and conscious plagiarisms, both hidden and overt, enhance the text, lending power and often humor to the ultimate bleakness of the author’s perspective.
The outline of the story is less complicated than the eccentric organization of the novel’s component parts might suggest. Chapters 1 through 11, identified as book 3 in the table of contents, follow the adventures of the eponymous hero from the moment of his birth or rebirth in a railway car to the point at which, cured of a mysterious disease, he is told, in chapters 12 through 30 (books 1 and 2), the story of his alter ego, or previous self, Duncan Thaw. Lanark’s story, a quest journey filled...
(The entire section is 1011 words.)
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