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Sample text

8). According to leading twentieth-century psychoanalysts such as Melanie Klein, projection and the internalising of our projections is crucial in the formation of our identities. The infant learns to keep good and bad apart in a process of dividing one from the other which continues into adulthood. This process involves absorbing aspects of another which are perceived as positive, but getting rid of negative aspects of the self by projecting them into others. However, in what Klein calls 'the paranoid-schizoid' state, one-dimensional, single-characteristic part-objects are created as a solution to internal conflict.

Here Carter includes pomography in the novel which at its point of entry into the text ceases to be pomography as such and becomes one of the novel's tropes. Whilst two years ago a real fifteen-year-old put the card on the notice board, in Morris's phantasy she becomes an icon for a young woman, not necessarily fifteen, but on the cusp of childhood and adulthood. She becomes a part-object, 'a panting, wet-lipped nymphet with jutting nubile breasts'. Unlike the real fifteen-year-old who has got older - the card has begun to brown the part-object phantasy is outside of time.

33). It is also apparent in the way he describes his junk shop as a worthwhile place to work because it attracts lots of Americans in the summer 'Especially females. In Bermuda shorts' (p. 35). Nevertheless, Shadow Dance is a complex, feminist and psychoanalytical exploration of post-1950s England. Morris's perspective, as one of many in the novel, is challenged and undermined by the wider interaction of voices within the text which also encourages the reader to regard it sceptically. At one level, the narrative takes the reader, as Harman (1994) says, 'thraugh a brilliantly evoked pravincial urban Iandscape of the early 1960s (full of diverting 'period' detail), complete with a moribund newsagent's shop, a filthy laundry, a cafeteria of 'inescapable, undistinguishable brawnness', vomiting girls and peeing dogs'.

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