The magic window story
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Authorial illustration is promoted as a coalescent form aimed at liberty of construction and interpretation, whose purpose supports the reader in grasping authors’ ambitions. His study’s strongest claim is a systemic approach (p. 29-32), bringing together elements that allow the reader to capture the wealth of potential in such works. Another advantage is Leroy’s criticism of Gérard Genette’s paratext, a notion unable to capture the multiple aspects of illustration and the manifold parts it plays in print.ģLeroy addresses relations between authorial illustration, narrative and peritextual elements, often investigating other texts by authors, or works of art and print. More extensive analysis along these lines would be welcome. The book offers up interesting and useful commentary of images from dreams, as in pages 31-32 (that refer to the mammoth illustrating the cover). In this sense, he might further stress imprecision, blurring, darkness and their enigmatic effects in illustration. He ably criticizes the narrowness of illustration as a critical term and proposes a range of definitions, targeting both the power of the reader and complex results of hybrid and cross readings. Mitchell, frequently quoted), an illumination (Thackeray), but also a device creating conflict and divergence with text. Leroy considers it a deceptive screen (as in W. His varied approach to illustration is one of the book’s clearer advantages.
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The stress is largely on narrative works and Victorian illustration (with three 20 th-century additions), while occasional Japanese quotes or random European (mainly French) examples fail to underpin the author’s European interests.ĢSenior lecturer in English studies at Université de Haute-Alsace, Maxime Leroy is well read in predominantly English-language criticism. Its aim is to compensate for a lack of theory and theorized practice on authorial illustration, mainly in its symbolic and aesthetic aspects, while considering styles, publishing, marketing and authors’ control over books. It starts with simple questions-cum-definitions and moves to more complicated ones, citing various examples and critical views, clarifying terminology. The device of the inaugural interview is an appealing entry into the subject matter at hand. The twofold structure opens with a long dialogue, “A Conversation on Authorial Illustration” (p. 5-44), presents twelve case studies (p. 45-90), and briefly concludes with a few principles. 1Maxime Leroy’s short study on writers’ own illustration has two parts and a conclusion.