![]() Finally, I explore Spark's ambivalent engagement with queer characters as emblems of her camp metafiction. Accordingly, I turn to accounts of "techno-modernism" in order to clarify Spark's campy metafiction. Spark thematizes her abiding concern with the ontology of narrative by foregrounding technologies of medial reproduction and surveillance. Drawing on Sianne Ngai's revitalization of the problem of "tone," I begin by reassessing Spark's frequently remarked-upon "triviality" in terms of the dynamics of camp, which I read in conjunction with a narratological emphasis on metafictionality. ![]() ![]() I suggest that in Spark's novels, two kinds of "inconsequentiality"-the first a tradition of refined triviality inherited from British high camp, and the second a species of narrative and poetic "inconsequence" associated with the metafiction of the sixties and seventies-share a cultural and formal logic. In this article, I examine the formal overlap between "camp" as a social and performance repertoire and postmodern metafiction through a reading of the novels of Muriel Spark, primarily Not to Disturb (1971) and The Abbess of Crewe (1974). ![]()
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