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Most writers of literary fiction have “their subject,” which is to say, a signature set of preoccupations stemming (typically) from one or another aspect of their biography.
we encounter the self-portrayal of the modernist author as a successful collegian, celebrated as a “genius” by his fellow students, admired by his professors, launched with “wild ecstasy” toward his future as a graduate student in English literature.
“autopoetics” of modernist fiction, as I called it in the Introduction, takes its most obvious form, self-expression, and a rather extreme species of that.
