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Stage Fright: Modernism, Anti-Theatricality and Drama (review)

195 accomplished. Levinas, Deleuze and Foucault all emerge in Sheehan’s argument as “Beckett’s theoretical inheritors” (184). He concludes by suggesting that in contemporary theoretical reflection, fiction and philosophy have been reunited: “It is here that the counterhumanist concerns of the modernist novel are allied with paraliterary practices that continue, and extend, the effort to decompose narrative form” (189). If in modernism the struggle with narrative is in its essence a struggle with the human, “[i]n theoretical antihumanism the struggle with the human is really a struggle with narrative—a successful struggle, this time, that culminates in the formation of a ‘postnarrative’ technique” (191). Theory, in Sheehan’s argument, emerges as modernism without narrative. This is a strongly recommended read.