The very title of the collection sets the tone for its five short stories. This is very much the case with Little Black Book of Stories. 1 Thus Byatt’s “colour vision” (Byatt 1998, 71) is a key factor to uncover the leading patterns of her books. It all starts with colours, so much so that, for instance, the pivotal figure of Van Gogh in Still Life only became so because she felt the need to use a complementary yellow in a book she thought of as purple. I see my writing as blocks of color before it forms itself” (Burns). She has explained on numerous occasions how a book, whether a novel or a collection of short stories, first shapes itself in her mind through colours: “I like to write about painting because I think visually. 1 “ Still Life started out very dark purple, and then I felt there ought to be yellow, it was the comp (.)ġA.S. Byatt’s interest in painting and colour is well-known and manifest in such eloquent titles as Still Life, The Matisse Stories, “Rose-Coloured Tea Cups”, “Art Work”, “Body Art”.
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