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Abstract
This essay focuses on the concept of intrasubjectivity explored both in relation to Wilson Harris’s concept of the self and his larger philosophical vision of human existence. Drawing on a wide range of Harris’s novels, most notably The Infinite Rehearsal (1987), part of The Carnival Trilogy, this essay attempts to make clear the importance that Harris attributes to intrasubjectivity as a source of “innermost feuding reality” and the “foundations of religious hope” that can be reached with the silencing and overcoming of these intrasubjective conflicts. Furthermore, this essay addresses how the concept of intrasubjectivity has changed over the course of Harris’s oeuvre from Palace of the Peacock (1977) to The Ghost of Memory (2006).