From the appreciation of female beauty as Botticellian to the acknowledgement of the Van-Goghian pathos of Provençal landscapes, the ekphrastic gaze of a British postmodern observer offers a socioculturally conditioned vision of artistically/aesthetically modified reality. Looking at over thirty works including Julian Barnes's Metroland (1980), John Fowles's The Magus (1965), and Michael Frayn's Headlong (1999), this book addresses the phenomenon of the 'ekphrastic gaze' and provides a comprehensive survey of its poetics and politics in British postmodern fiction.
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