![]() ![]() In this way, Death as a fictionalised experience allies itself harmoniously with literary fiction. It is a “semantically unoccupied zone of utterance”, with “no vocabulary native to it”. As Garrett Stewart points out in his book Literature and Death: Styles of Dying in British Fiction, it can only ever be “approximated”. It is, therefore, no surprise that the idea of death occupies such large areas in Literary Fiction. The fact that we are forever unsure as to the exact nature of death only makes it more compelling and an ideally dramatic element. The experience of death, then, is both certain and essentially fictive. For the most part we don’t know how it will happen, when or what it will actually be like. All we know of Death is that it will happen. It occupies the full spectrum of human interest from the philosophical heights of existentialism to the more mundane prominence of health insurance. ![]() As participants in the mortal experience, it is inevitable that the said experience will come to an end and that end is death. It is the one experience that we all share and it demands a constant presence in how we live our lives. ![]()
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