Editing Stream of consciousness (section)

===1923 to 2000===

Prominent uses in the years that followed the publication of James Joyce's ''Ulysses'' include [[Italo Svevo]], ''[[Zeno's Conscience|La coscienza di Zeno]]'' (1923),<ref>[untitled review], [https://www.jstor.org/stable/478649 Beno Weiss, ''Italica'', Vol. 67, No. 3 (Autumn, 1990), p. 395.]</ref> [[Virginia Woolf]] in ''[[Mrs Dalloway]]'' (1925) and ''[[To the Lighthouse]]'' (1927), and [[William Faulkner]] in ''[[The Sound and the Fury]]'' (1929).<ref>''Oxford Dictionary of Literary Terms'', p. 212.</ref> However, Randell Stevenson suggests that "interior monologue, rather than stream of consciousness, is the appropriate term for the style in which [subjective experience] is recorded, both in ''[[The Waves]]'' and in Woolf's writing generally."<ref>''Modernist Fiction''. Lexington: University of Kentucky, 1992, p. 55; ''Oxford Dictionary of Literary Terms'', p. 212.</ref> Throughout ''Mrs Dalloway'', Woolf blurs the distinction between [[Direct speech|direct]] and [[indirect speech]], freely alternating her [[Narrative mode|mode of narration]] between [[Third-person omniscient|omniscient description]], [[free indirect discourse|indirect]] [[interior monologue]], and [[soliloquy]].<ref>{{cite book |last=Dowling |first=David |title=Mrs Dalloway: Mapping Streams of Consciousness |page=46 |year=1991 |publisher=Twayne Publishers |isbn=978-0-8057-9414-4}}</ref> [[Malcolm Lowry]]'s novel ''[[Under the Volcano]]'' (1947) resembles ''Ulysses'', "both in its concentration almost entirely within a single day of [its protagonist] Firmin's life ... and in the range of interior monologues and stream of consciousness employed to represent the minds of [the] characters".<ref>Randall Stevenson, pp. 89–90.</ref> 

[[Samuel Beckett]], a friend of James Joyce, uses [[interior monologue]] in novels like [[Molloy (novel)|''Molloy'']] (1951), ''Malone meurt'' (1951; ''[[Malone Dies]]'') and ''L'innommable'' (1953: ''[[the Unnamable (novel)|The Unnamable]]''). and the short story "[[From an Abandoned Work]]" (1957).<ref>Karine Germoni, "From Joyce to Beckett: The Beckettian Dramatic Interior Monologue". ''Journal of Beckett Studies'', Spring 2004, Vol. 13, issue 2.</ref> French writer [[Jean-Paul Sartre]] employed the technique in his [[The Roads to Freedom|Roads to Freedom]] trilogy of novels, most prominently in the second book ''[[The Reprieve]]'' (1945).<ref>Marshall, T. E.  ''Freedom and Commitment in Jean-Paul Sartre's "Les Chemins de la Liberté", Masters Thesis, University of Canterbury. 1975.  pp. 48–9. http://ir.canterbury.ac.nz/bitstream/handle/10092/8590/marshall_thesis.pdf?sequence=1''</ref> 

The technique continued to be used into the 1970s in a novel such as [[Robert Anton Wilson]]/[[Robert Shea]] collaborative ''[[Illuminatus!]]'' (1975), concerning which ''[[The Fortean Times]]'' warns readers to "[b]e prepared for streams of consciousness in which not only identity but time and space no longer confine the narrative".<ref>''The Fortean Times'', issue 17 (August 1976), pp. 26–27.</ref>

Although loosely structured as a sketch show, [[Monty Python]] produced an innovative stream-of-consciousness for their TV show ''[[Monty Python's Flying Circus]]'', with the BBC stating, "[Terry] Gilliam's unique animation style became crucial, segueing seamlessly between any two completely unrelated ideas and making the stream-of-consciousness work".<ref>{{cite news |title=Monty Python's Flying Circus |url=https://www.bbc.co.uk/comedy/montypython/ |access-date=24 August 2019 |agency=BBC}}</ref>

Scottish writer [[James Kelman]]'s novels are known for mixing stream of consciousness narrative with [[Glasgow|Glaswegian]] vernacular. Examples include ''[[The Busconductor Hines]]'' (1984), ''[[A Disaffection]]'' (1989), ''[[How Late It Was, How Late]]'' (1994) and many of his short stories.<ref>[http://www.newyorker.com/books/page-turner/minds-are-the-strangest-thing Giles Harvey, "Minds Are The Strangest Thing". ''The New Yorker'', 20 May 2013.]</ref> With regard to [[Salman Rushdie]], one critic comments that "[a]ll Rushdie's novels follow an Indian/Islamic storytelling style, a stream-of-consciousness narrative told by a loquacious young Indian man".<ref>John C. Hawley, ''Encyclopedia of Postcolonial Studies'' (Westport: Greenwood, 2001), p. 384.</ref> Other writers who use this narrative device include [[Sylvia Plath]] in ''[[The Bell Jar]]'' (1963),<ref>''American Literature'', Vol. 65, No. 2, Jun. 1993, 
p. 381.</ref> the [[Soviet nonconformist art|Soviet underground]] writer [[Pavel Ulitin]] in ''Immortality in the pocket'', and [[Irvine Welsh]] in ''[[Trainspotting (novel)|Trainspotting]]'' (1993).<ref>Sarah Keating, "Tales from the Other Side of the Track". ''Irish Times'' 3 May 2012.</ref>

Stream of consciousness continues to appear in contemporary literature. [[Dave Eggers]], author of ''[[A Heartbreaking Work of Staggering Genius]]'' (2000), according to one reviewer, "talks much as he writes – a forceful stream of consciousness, thoughts sprouting in all directions".<ref>"The agony and the irony", Stephanie Merritt. ''The Observer'', Sunday 14 May 2000.</ref> Novelist John Banville describes [[Roberto Bolaño]]'s novel ''[[Amulet (novel)|Amulet]]'' (1999), as written in "a fevered stream of consciousness".<ref>"Amulet by Roberto Bolaño", John Banville. ''The Guardian'', Saturday 12 September 2009.</ref>