8. Thomas Docherty, After Theory (Edinburgh: Edinburgh University Press, 1997), 119.
9. Recognising that both experience and its representation are subject to ideological implications, Alter explains that "language can never give us experience itself but must always transmute experience into récit, that is, into narration, or if you will fiction." Experience then, can never be innocently represented as it is always already an interpretation. Robert Alter, Partial Magic: The Novel as a Self-Conscious Genre (Berkeley: University of California Press, 1978), 64.
10. Linda Hutcheon, "Historiographic Metafiction," Passionate Doubts: Designs of Interpretation in Contemporary American Fiction, ed. Patrick O'Donnell (Iowa City: University of Iowa Press, 1986), 3.
11. As any poststructuralist or postmodernist will exclaim to simply reverse a binary opposition if to create yet another opposition.
12. Like others, Hutcheon has argued that postmodernism's distinctive character lies in this kind of commitment to doubleness, or duplicity. Hutcheon, The Politics of Postmodernism, 1-2. See also Prendergast who celebrates this notion of duplicity: "the essence" of mimesis lies "in the relations of complementarity and contradiction." Prendergast, 8.
13. See for instance Jacqueline Rose's thorough charting of some of the challenges feminism has posed to binary oppositions, Sexuality in the Field of Vision (London: Verso, 1986), 83-103. Supplementing Bakhtin's view that the novel itself is double-voiced, Gilbert and Gubar's lengthy analyses also explore "palimpsestic texts" as examples of "double-voiced discourse" whereby women's texts not only identify women's confinement in male discourse but also strive to overcome it. Sandra M Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Imagination (New Haven: Yale University Press, 1979), 73. See also Elaine Showalter, "Feminist Criticism in the Wilderness," Critical Inquiry, 8.2 (Winter 1981): 201, 204; and see Gates, who, in a discussion of Zora Neale Hurston's writings, explains that double voice is a "narrative strategy," a mimetic strategy, for representing a double consciousness. Double voice is a "verbal analogue" for "double experience." Zora Neale Hurston, Jonah's Gourd Vine, "Afterword" by Henry Louis Gates, Jr. (New York: Harper and Row, 1990).
