Reseña de Susana Onega Jaen 1999: Metafiction and Myth in the Novels of Peter Ackroyd.

Susana Onega Jaen 1999: Metafiction and Myth in the Novels of Peter Ackroyd. de revista de la Asociacion Espanola de Estudios Anglo-Norteamericanos Atlantis Resumen del Libro

Susana Onega Jaen 1999: Metafiction and Myth in the Novels of Peter Ackroyd. Columbia, SC.: Camden House. 214 pp. Together with Julian Barnes, Peter Ackroyd (1949) is arguably the most important name in the taxonomy of British historiographic metafiction, a field which Linda Hutcheon studied in her influential A Poetics of Postmodernism: History. Theory. Fiction (1988), where she stated that the combination of metaficfion and history produces the only kind of fiction that fulfils the poetics of postmodernism, Hutcheon's premise is the theoretical point of departure of Susana Onega's book on the works of Ackroyd, the first that considers and analyzes the whole production of the writer up to 1999 (she had already written an enlightening volume on Ackroyd for the British Council with a more restricted range, published in 1998). According to Onega, the list of writers Hutcheon makes reference to would also include other significant names, like those of Lawrence Durrell, William Golding, John Fowles, Graham Swift, Jeanette Winterson, Angela Carter, Rose Tremain and Charles Palliser. Perhaps another author could be added to the select club alluded to before, and this could be that of J. G. Farrell, as Ralph J. Crane and Jennifer Livett have consistently and coherently defended in Troubled Pleasures: The Fiction of J. G. Farrell (1997). In any case, in the pedagogical introduction to Metafiction and Myth in the Novels of Peter Ackroyd, Onega establishes a schematic and crystal-clear analysis of the coincidences and differences among the novelists that have cultivated historiographic metafiction in Britain in the last decades. This serves the purpose of placing Ackroyd in context as an original and sui-generis author who, at the same time, shares some of the global features of his "fellow writers". Nor does she forget other important influences, like those of Spanish- American "magic realist" authors, especially Garcia Marquez and Borges. Incidentally, and enthused by the crucible of ideas propitiated by this seminal study, I am tempted to say that someone should be encouraged to write a PhD Thesis on the analogies between Borges and Ackroyd; Onega recurrently refers to the Argentinian creator in her study of the English writer's fiction, and an extensive comparative analysis would undoubtedly be academically fruitful.

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