<p>The unreliable narrator is one of the most contested concepts in narrative theory. While critical debates have been heated, they have tended to foreground that the problem of the unreliable narrator is epistemological rather than ontological: it is agreed that narrators can be unreliable in their accounts, but not how the unreliable narrator ought to be defined, nor even how readers can be expected in all certainty to find a narration unreliable. As the wider critical discourse has looked to tighten its collective understanding of what constitutes unreliability and how readers understand and negotiate unreliable narration, previously divided views have begun to be reconciled on the understanding that, rather than deferring to either an implied author or reader, textual signals themselves might be better understood as the most fundamental markers of unreliability. Consequently, taxonomies of unreliable narration based on exacting textual evidence have been developed and are now widely held as indispensable. This thesis argues that while such taxonomies do indeed bring greater interpretive clarity to instances of unreliable narration, they also risk the assumption that with the right critical apparatus in place, even the most challenging unreliable narrators can, in the end, be reliably read. Countering the assumption are rare but telling examples of narrators whose reliability the reader might have reason to suspect, but whose unreliability cannot be reliably or precisely ascertained. With recourse to David Ballantyne’s Sydney Bridge Upside Down, this thesis proposes new terminological distinctions to account for instances of such radical unreliability: namely the ‘unsecured narrator’, whose account is therefore an ‘insecure narration’. Ballantyne’s novel, published in 1968, has not received sustained critical attention to date, though it has been acclaimed by a small number of influential critics and writers in Ballantyne’s native New Zealand. This thesis argues that the novel’s long history of neglect is tied to the complexities of its radically unreliable narration. With social realism the dominant mode in New Zealand literature from the 1930s to the 60s, the obligation of the writer to accurately render—and critique—local conditions with mimetic accuracy was considered paramount. Even those critics to have argued the novel’s importance often maintain, largely or in part, a social realist view of the book’s significance. Doing so, however, fundamentally elides the complexity of the novel’s narrative machinery and to deeply ironic ends: for, this thesis argues, Sydney Bridge Upside Down deploys its insecure narration as a complaint against the limits of social realism practised in New Zealand. Its unsecured narrator, Harry Baird, slyly overhauls realist reference points with overtly Gothic markers and cunning temporal dislocations to thus turn social realism’s desire for social critique back on itself via radical unreliability.</p>
Evangelisk ironi
