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Eight rockets : a novel ; and, Stepping back from the rail : watching and writing eight rockets : an exegesis

DL Dyer

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Abstract

In my novel Eight Rockets and its accompanying exegesis Stepping Back from the RailI offer a new way of thinking and writing about a particular and peculiar aspect of the Titanic disaster.The disaster is one of the most famous and mythologised events of our time, but what is less well known is that a nearby ship saw her distress rockets and did not respond to them.My exegesis and novel explore this incident and grapple with possible modes of its creative representation.My work inhabits the fraught zone between history and fiction, but I hope that it lights a way through and offers a strategy for reconciling the demands of historical truth and the fictional novel.Linda Hutcheon's central notion of 'installing and problematising' allows my novel to play a double game: to insist upon the truth of a particular representation of a historical event and its actors, but also to make overt the subjective and contingent processes involved in constructing such a representation. In my exegesis I describe my initial attempts to write a 'scientific history' of theCalifornian incident and how these attempts suffocated under a dense weight of detail.I explain how I gave up the struggle to control the facts and instead placed the task of representing the 'truth' into the hands of an invented narrator.Process became part of the product: instead of telling the story of the Californian my novel told a story about telling stories.My novel aims to disrupt and unsettle early 20th century discourses of heroic men, difficult women and the silent poor.My work explores representations of third class passengers in the Titanic archive, concludes that they only ever appear as an undifferentiated mass, and seeks to rectify this by giving voice to a specific, historical third class family.My novel and exegesis together make a statement about what it is to write 'historically' by taking as their subject real 'historical referents' -Captain Lord,

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In my novel Eight Rockets and its accompanying exegesis Stepping Back from the RailI offer a new way of thinking and writing about a particular and peculiar aspect of the Titanic disaster.The disaster is one of the most famous and mythologised events of our time, but what is less well known is that a nearby ship saw her distress rockets and did not respond to them.My exegesis and novel explore this incident and grapple with possible modes of its creative representation.My work inhabits the fraught zone between history and fiction, but I hope that it lights a way through and offers a strategy for reconciling the demands of historical truth and the fictional novel.Linda Hutcheon's central notion of 'installing and problematising' allows my novel to play a double game: to insist upon the truth of a particular representation of a historical event and its actors, but also to make overt the subjective and contingent processes involved in constructing such a representation. In my exegesis I describe my initial attempts to write a 'scientific history' of theCalifornian incident and how these attempts suffocated under a dense weight of detail.I explain how I gave up the struggle to control the facts and instead placed the task of representing the 'truth' into the hands of an invented narrator.Process became part of the product: instead of telling the story of the Californian my novel told a story about telling stories.My novel aims to disrupt and unsettle early 20th century discourses of heroic men, difficult women and the silent poor.My work explores representations of third class passengers in the Titanic archive, concludes that they only ever appear as an undifferentiated mass, and seeks to rectify this by giving voice to a specific, historical third class family.My novel and exegesis together make a statement about what it is to write 'historically' by taking as their subject real 'historical referents' -Captain Lord,

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Available abstract

In my novel Eight Rockets and its accompanying exegesis Stepping Back from the RailI offer a new way of thinking and writing about a particular and peculiar aspect of the Titanic disaster.The disaster is one of the most famous and mythologised events of our time, but what is less well known is that a nearby ship saw her distress rockets and did not respond to them.My exegesis and novel explore this incident and grapple with possible modes of its creative representation.My work inhabits the fraught zone between history and fiction, but I hope that it lights a way through and offers a strategy for reconciling the demands of historical truth and the fictional novel.Linda Hutcheon's central notion of 'installing and problematising' allows my novel to play a double game: to insist upon the truth of a particular representation of a historical event and its actors, but also to make overt the subjective and contingent processes involved in constructing such a representation. In my exegesis I describe my initial attempts to write a 'scientific history' of theCalifornian incident and how these attempts suffocated under a dense weight of detail.I explain how I gave up the struggle to control the facts and instead placed the task of representing the 'truth' into the hands of an invented narrator.Process became part of the product: instead of telling the story of the Californian my novel told a story about telling stories.My novel aims to disrupt and unsettle early 20th century discourses of heroic men, difficult women and the silent poor.My work explores representations of third class passengers in the Titanic archive, concludes that they only ever appear as an undifferentiated mass, and seeks to rectify this by giving voice to a specific, historical third class family.My novel and exegesis together make a statement about what it is to write 'historically' by taking as their subject real 'historical referents' -Captain Lord,

Key concepts: Exegesis, Representation (politics), Event (particle physics), Literature, Aesthetics, Art, Visual arts, History

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