By Dr Elizabeth Leane
This finished research of literary responses to Antarctica examines the wealthy physique of literature that the continent has provoked during the last 3 centuries, focussing quite on narrative fiction. Novelists such Edgar Allan Poe, James Fenimore Cooper, Jules Verne, H. P. Lovecraft, Ursula Le Guin, Beryl Bainbridge and Kim Stanley Robinson have all been drawn artistically to the a long way south. The continent has additionally encouraged style fiction, together with a turbines and Boon novel, a Phantom comedian and a Biggles booklet, in addition to numerous lost-race romances, espionage thrillers and horror-fantasies. Antarctica in Fiction attracts on those assets, in addition to movie, trip narratives and explorers' personal artistic writing. It maps the some distance south as an area of the mind's eye and argues that purely by means of enticing with this house, as well as the actual continent, do we comprehend present attitudes in the direction of Antarctica.
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Additional info for Antarctica in Fiction: Imaginative Narratives of the Far South
Before turning to recent Antarctic speculations, however, it Polar Portals 35 is worth narrowing in on the part of the continent that has been more mythopoeic than any other: the Pole. Pol a r Portals As both cultural critics and creative writers have observed,62 the poles are characterized by paradoxes. 63 They are both central (points on the axis around which the earth turns and cartographically where lines of longitude intersect) and marginal (remote, relegated to the edges of maps). The South Pole is doubly marginal from a European perspective, being ‘opposite’ the better-known northern regions and far more remote than the remote Arctic.
Example of preexploration Antarctic fiction’,31 but the categorization needs to be applied with caution. 34 Numerous early utopias, satires and fantastic voyages set in Terra Australis Incognita could, like Hall’s, be claimed as vaguely ‘Antarctic’, without adding much specific to understandings of the continent’s representation. In the tradition of auspicious beginnings, one critic argues for an Antarctic setting for Swift’s Gulliver’s Travels (1726), noting that ‘Houyhnhnmland [is located] 45 degrees latitude south of Australia’;35 but this places it further from the South Pole than Venice is from the North Pole.
M. Walsh’s pulp science fiction story, ‘When the Earth Tilted’ (1932), recounts the discovery of a lost race of blonde, blue-eyed and white-skinned people who speak a language similar to MaoriÂ€– they are descendants of the ancient continent of Mu. Antarctica itself becomes a Mu of sorts in Robert Argod’s non-fiction work, Out of Antarctica: Reflections on the Origins of Peoples (2004). The legend of Ui-te-rangiora, along with other myths of an endless night, a disappearing sun and sheltering from the cold, is marshalled by the mariner Argod not as evidence that Polynesians visited the Antarctic regions, but rather that they originated there.
Antarctica in Fiction: Imaginative Narratives of the Far South by Dr Elizabeth Leane