By Howard Jacobson
Frank Ritz is a tv critic. His accomplice, Melissa Paul, is the writer of pornographic novels for liberated ladies. He watches crap all day; she writes crap all day. It's a existence. Or it was once a existence. yet now they're scuffling with, locked in oral wrestle. He won't close up and he or she is placing her finger down her throat back. So there's just one factor for it — Frank has to go.
But cross the place? And do what? Frank Ritz has been in warmth kind of constantly when you consider that he may well converse his personal identify. allow him out of the home and his first intuition is to search for intercourse. Deviant intercourse. treacherous intercourse, even directly intercourse, as long as it's immoderate—he's by no means been picky. yet what occurs whilst intercourse is all you recognize yet now not what you will have?
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Frank Ritz is a tv critic. His accomplice, Melissa Paul, is the writer of pornographic novels for liberated girls. He watches crap all day; she writes crap all day. It's a existence. Or it used to be a lifestyles. yet now they're scuffling with, locked in oral strive against. He won't close up and she or he is placing her finger down her throat back.
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Extra resources for No More Mr. Nice Guy
No single theoretical point of view is the most appropriate for Peake’s work. As a novelist he excels in such painterly effects as shifting viewpoint and focal distance. As a critic I aim to do likewise, to enrich and deepen my reading by using the complementary strengths of psychoanalytic theories that offer insight into the mysteries of the human psyche. Psychoanalytic Perspectives 31 My theoretical argument could go on to discuss the interrelationships between the psychoanalytic theories of which I make use, and problematic aspects of these theories, at much greater length.
The ocean is personified in Peake’s text, and the rock is both animated and given consciousness: the “tooth-shaped rock protruding out of mid-ocean which dug itself viciously into [the ship’s] limpet-thick bottom” (“MS”, 77), the ocean with her “tremendous bosom” (“MS”, 91). To pursue this use of language further is to begin to doubt whether Mr Slaughterboard’s parents are really dead, at least at an unconscious level. 6 5 6 Freud, “Three Essays on Sexuality”, 145n. The song to which Peake’s character refers can be found in Shakespeare’s The Tempest, Arden edn, ed.
31 Jungian theory has no argument with the Freudian idea of the unconscious, especially in its later version, so long as it is understood as a partial description of the human psyche. The Jungian shadow assimilates the Freudian unconscious and adds to it. Similarly, Jungian theory assimilates and modifies Freudian pessimism. Freud regards civilisation as being under 28 29 30 31 Carl Jung, “The Theory of Psychoanalysis”, in Freud and Psychoanalysis, trans. R. F. C. Hull (Princeton: Princeton University Press, 1961), 104-17.
No More Mr. Nice Guy by Howard Jacobson