Ultimately, I draw conclusions (which are necessarily limited themselves) as to the gesture each novel attempts to make beyond its bounds. I employ a broadly post-structuralist theoretical framework in order to engage with novels that incorporate into their content an awareness of the parameters within which they are obliged to function. However, this study seeks to trace each work’s fitful engagement with what it cannot encapsulate in order to ascertain the capabilities of narrative, in spite of its inherent limitations. (Banville’s novel attempts to skirt as many limitations as possible, including a national one, in order to grapple, as unhindered as possible, with what narrative can achieve.) Fictional rehabilitations of what occurred in a phenomenal reality are inevitably fraught because of their form’s limited grasp.
The first two position themselves as rehabilitators of portions of Ireland’s history that have been occluded from official versions thereof. All three set themselves the task of capturing and representing a past. What the three works have in common, besides their nationality, is a preoccupation with what exceeds their grasp: that is, their inspiration is also their limitation. This dissertation hinges on the exploration of three contemporary Irish novels, namely The Secret Scripture by Sebastian Barry, The Gathering by Anne Enright, and The Sea by John Banville.
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