On the merely narrative level, flashback in Pincher Martin is the natural result of Martin's isolation and illness, and is the process by which he is gradually brought to his ghastly self-knowledge. This process is quite distinct from the flashbacks' effect on the reader, who sees each memory both in relation to all the other memories presented in the book, and in relation to the physical circumstances of Martin's life on the rock. Neither relation is simple: they constitute the main de...

[Pincher Martin] seems … to present, more clearly than any of Golding's other novels, a crystallization of certain distinctive features of his imaginative vision. (p. 247) Whether or not we know about the ending, the greater part of the story must be read as an account of the experience of a living man struggling for survival in the sea and on the rock; there seems to be no other way of reading it. Only towards the end does this mode of reading give way to a different kind of response and it i...

With Pincher Martin, for all its real claims as a breathless and mysterious tour de force, two or three things went wrong. Mr Golding had taken a dive into the chaos of a single consciousness; to do this makes hay of the traditional novel, which is a work concerned with the differences between people. Pincher Martin was a one-man scream of pain. The defence may be that Golding is a poet-novelist, an exponent of the anti-novel, that he is writing 'black' literature or reviving the Gothic tradit...

["The Two Deaths of Christopher Martin", US title for "Pincher Martin",] is one of the most remarkable books of recent years—a short novel which, though it has no explicit social reference, profoundly expresses the philosophic pessimism that has affected so many European intellectuals since the Second World War…. All the twinges of [Christopher Martin's] battered body, the flutters of his agonized spirit, the stirrings of his tortured consciousness register i...