'Turning her Over in the Flat of my Dreams': Visuality, Cut-up and Irreality in the Work of Ann Quin. Issue 1 (2nd January 2022)

• Record Type: Journal Article
• Authors: White, Hilary
• Is Part Of: Women. Volume 33:Issue 1(2022)
• Page Start: 114
• Page End: 130
• Publication Date: 2022-01-02
• Subjects: Ann Quin -- 'Tripticks' -- cut-up -- collage -- dream -- irreality -- visuality -- Passages; Women -- Great Britain -- Social conditions -- Periodicals; Feminism -- Great Britain -- Periodicals; Women in popular culture -- Great Britain -- Periodicals; Women in the performing arts -- Great Britain -- Periodicals; 305.40941
• DOI: 10.1080/09574042.2022.2020013
• Languages: English
• ISSNs: 0957-4042

Abstract

Abstract: Drawing together dreaming and cut-up in Ann Quin's work, this article considers the textual juxtapositions of the story, 'Tripticks' (1968), the latterly developed novel, Tripticks (1972), and Quin's explicit incorporation of two 'cut-up dreams' into the narrative of Passages (1969). In placing cut-up segments together, a relationship—and a narrative—emerges, although not necessarily a plot-centric one, for '[p]lot can diminish in a forest of effects and accidents' (Quin 1968, 'Tripticks': 14). Examining Quin's development of 'causeless' narrative, with recourse to both psychoanalytic and countercultural accounts of the dream, I contend that Quin uses the motif and aesthetics of the dream to explore issues of agency, and dislocation between subject and environment. While W.S. Burroughs stakes his interest in the dream as a basis for (visual) literary invention in The Third Mind in 1967, claiming to be directing his attention 'outward', Freud suggests in 1899 that we 'build our way out into the dark' in the interpretation of dreams (550). The cut-up functions by the same logic, capitalizing on unpredictability, on not knowing what will come next. While Quin's cut-ups produce comedy through surprising juxtapositions, their fracturing of temporal and spatial relations, and elimination of causality, result in a somewhat nightmarish 'reality' for her depicted subjects, emphasizing entrapment within the dream world over the liberational qualities of dream favoured by Burroughs, narrativising the tension between freedom and constraint inherent in the cut-up form.