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<docTitle> | |
<text>Rupert Thomson: Critical Essays</text> | |
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<navLabel> | |
<text>Title Page</text> | |
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<content src="000_prelims.xhtml#title"/> | |
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<navLabel> | |
<text>Series Page</text> | |
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<navLabel> | |
<text>Copyright</text> | |
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<navLabel> | |
<text>List of Abbreviations</text> | |
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<navPoint id="navPoint-6" playOrder="6"> | |
<navLabel> | |
<text>Foreword</text> | |
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<navLabel> | |
<text>Rupert Thomson</text> | |
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<text>1. ‘Risk and Innovation’: Rupert Thomson’s Unsettling Forms</text> | |
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<navLabel> | |
<text>Rebecca Pohl and Christopher Vardy</text> | |
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<text>2. ‘Border Games’ and Security in the Work of Rupert Thomson</text> | |
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<text>Robert Duggan</text> | |
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<text>3. ‘Perhaps That Is What Is Meant by the Word “Haunted”’: Power, Dystopia and the Ghostly Other in Divided Kingdom</text> | |
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<text>Iain Robinson</text> | |
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<navPoint id="navPoint-14" playOrder="14"> | |
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<text>4. Happier Days for All of Us? Childhood and Abuse in Death of a Murderer</text> | |
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<text>5. The Ghostly Presence of Her: Representations of Myra Hindley in Death of a Murderer</text> | |
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<text>Rhona Gordon</text> | |
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<navPoint id="navPoint-18" playOrder="18"> | |
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<text>6. ‘The Shame of Being a Man’: Shame, Masculinity and Writing in The Book of Revelation</text> | |
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<content src="5_Mitchell.xhtml"/> | |
<navPoint id="navPoint-19" playOrder="19"> | |
<navLabel> | |
<text>Kaye Mitchell</text> | |
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<navPoint id="navPoint-20" playOrder="20"> | |
<navLabel> | |
<text>7. Something’s Not Quite Right: Atmosphere in The Insult</text> | |
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<navPoint id="navPoint-21" playOrder="21"> | |
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<text>Rebecca Pohl</text> | |
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<navPoint id="navPoint-22" playOrder="22"> | |
<navLabel> | |
<text>8. ‘Candour and Secrecy’: Forms of Fiction in This Party’s Got to Stop and Secrecy</text> | |
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<navPoint id="navPoint-23" playOrder="23"> | |
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<text>John McAuliffe</text> | |
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<text>Notes on Contributors</text> | |
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<navLabel> | |
<text>Index</text> | |
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<content src="Index.xhtml"/> | |
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