5/24/2023 0 Comments Possession byattIn the tale, Maud and Roland desire “clean white beds” Ash desires “the white lady,” Christabel, who is “white in the dark” and Christabel's poems refer to white hands, linen, milk, bones, crosses, and “marbling nakedness.” The reader, meanwhile, desires to possess the white page of the text–to come to “know” the text–much as a lover comes to “know” her beloved. I contend that the achromatic color white functions as a trope of desire and imbricates the pairs of lovers and the reader in a longing that can be fulfilled only through reading the white page. In the 1990 Booker Prize-winning novel Possession: A Romance, however, Byatt theorizes on art and chromatics more indirectly in fact, she leaves the chromatic spectrum almost entirely, spinning a tale, a text(ile) woven in an achromatic hue: white. Painting for Robin is “a series of problems, really, inexhaustible problems, of light and color, you know” (70). With The Matisse Stories (1996) her discussion moves into the theory of complementary colors in the story “Art Work,” through the painter Robin Dennison. In Still Life (1985) Byatt intentionally saturates her text with musings on art and color bordering on the didactic, she devotes long passages to Van Gogh's chromatics and individual characters' theories on art. Byatt, who won the Booker Prize for it the year it was published. It is based on the 1990 novel of the same name by British author A. Byatt frequently writes about art and color theory in her fiction. Possession is a 2002 romantic mystery drama film written and directed by Neil LaBute and starring Gwyneth Paltrow and Aaron Eckhart.
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