Abstract
In each of his twelve novels, Jim Crace, who likes to refer to himself as a "landscape writer", created a distinct yet recognisable imaginary landscape or cityscape, which led critics to coin the term "Craceland" to denote this idiosyncratic milieu. Through Craceʼs remarkable ability to both authentically and poetically render these milieux, they appear other and familiar at the same time.
Moreover, he occupies these places and spaces with communities in transition, which include people who are caught on the verge of a historical shift that necessitates certain social, economic, political and cultural changes that affect all spheres of their private and public lives. Consequently, they shatter essential aspects of their identities.
A crucial role in this process is assumed by the locations through which these individuals move or reside, either permanently or temporarily. Crace's debut novel, Continent (1986), comprises seven thematically linked stories that are variations of a fictitious realm, an imaginary seventh continent whose inhabitants are going through an identitarian crisis which is, symptomatically for Crace, reflected in their spatial experience.
The aim of this paper is to provide a geocritical analysis of the novel and explore how it dramatises the intricate interaction between the geographic and topographic properties of landscapes and the protagonists' psyches.