When postmodern critics read Victorian or modernist narratives like Dr Jekyll and Mr Hyde, or Heart of Darkness, the subject and the object, or the critic and the narrative, are separated by a significant historical and temporal gap. The postmodernism in those situations belongs to the critic and not the narrative, and all the conscious and unconscious assumptions of the contemporary epoch, its theories and ideas, its history and its ideology are brought to the narrative by the critic. But what happens when the temporal gap closes, when contemporary critics write about contemporary novels or when postmodern narrative theory takes postmodern narrative as its object? Given the general argument of this book, that narrative and narrative theory, literature and criticism, or the novel and the critic are increasingly inseparable in the postmodern age, what is the role of the critic in a world of theoretical fictions, self-conscious narratives and self-referential discourses?
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