What Shelley's world of Prometheus Unbound really has to fear is not resurrection of Jupiter but the resurrection of John Donne.
Cleanth BrooksStichwörter: literary-criticism
The most celebrated American author of the twentieth century, Bellow objected during the first part of his career to being designated a “Jewish writer, ” but it was he who demonstrated how a Jewish voice could speak for an integrated America. With Bellow, Jewishness moved in from the immigrant margins to become a new form of American regionalism. Yet he did not have to write about Jews in order to write as a Jew. Bellow's curious mingling of laughter and trembling is particularly manifest in his novel Henderson the Rain King, that follows an archetypal Protestant American into mythic Africa. Bellow not only influenced and paved the way for other American Jewish writers like Philip Roth and Cynthia Ozick, but naturalized the immigrant voice: the American novel came to seem freshly authentic when it spoke in the voice of one of its discernible minorities.
Hana Wirth-NesherStichwörter: literary-criticism
...a fundamental rule of journalism, which is to tell a story and stick to it. The narratives of journalism (significantly called "stories"), like those of mythology and folklore, derive their power from their firm, undeviating sympathies and antipathies. Cinderella must remain good and the stepsisters bad. "Second stepsister not so bad after all" is not a good story.
Janet MalcolmStichwörter: literary-criticism
Discussions of the effects of serial publication of Victorian novels on their authors and readers1 usually draw attention to the author's peculiar opportunities for cliff-hanging suspense, as, for instance, when Thackeray has Becky Sharp counter old Sir Pitt's marriage proposal at the end of Vanity Fair's fourth number with the revelation
that she is already married, and the reader must wait a month before the husband's identity is revealed. Or it may be pointed out how the author can modify his story in response to his readers' complaints or recommendations, as when Trollope records in his
Autobiography how he wrote Mrs Proudie out of the Barchester Chronicles after overhearing two clergymen in the Athenaeum complaining of his habit of reintroducing the same characters in his fiction.
Stichwörter: literary-criticism
Woolf ’s control over the production of her own work is a significant factor in her genesis as a writer. The Hogarth Press became an important and influential publishing house in the decades that followed. It was responsible, for example, for the first major works of Freud in English, beginning in 1922, and published significant works by key modernist writers such as T. S. Eliot and Gertrude Stein. Woolf herself set the type for the Hogarth edition of
Eliot’s The Waste Land (1923), which he read to them in June 1922, and which she found to have ‘great beauty
Stichwörter: literary-criticism
Leonard Woolf was two years older than Virginia, whom he had first met in 1901 in the rooms of her brother Thoby at Cambridge. He went from St Paul’s School to Trinity College on a scholarship in 1899 and was the
first Jew to be elected to the Cambridge Apostles. His father Sidney Woolf (1844–92) was a barrister who died prematurely, leaving his widow, Marie, with the care of their ten children. After Cambridge, Leonard reluctantly
entered the Colonial Civil Service and he served in Ceylon for seven years. The experience forged him as a passionate anti-imperialist. In 1911 he began writing a novel based on his experiences, but written from the point of view of the Sinhalese; The Village in the Jungle was published in 1913. This work may have influenced his wife’s novel The Voyage Out, which has a fictional colonial setting. On his return to England he became a committed socialist and he was active on the left for most of his life, publishing numerous pamphlets and books of significance on national and international politics. His role as intimate literary mentor to Virginia Woolf has sometimes overshadowed his considerable import as a political writer in his own right.
Stichwörter: literary-criticism
Leonard and Virginia married in August 1912. Virginia was 30. Soon after her marriage she suVered another breakdown and her mental health declined sporadically over the following year, culminating in a suicide attempt in September 1913. They were advised against having children because of Virginia’s recurring depressive illness, a cause of some regret to her, and a point of much heated debate among her later biographers.
Jane GoldmanStichwörter: literary-criticism
In January 1912 Leonard proposed marriage. She was unable to answer directly and he pressed further in a passionate letter: ‘It isn’t, really it isnt, merely because you are so beautiful – though of course that is a large reason
Jane GoldmanStichwörter: literary-criticism
Life, of course, never gets anyone's entire attention. Death always remains interesting, pulls us, draws us. As sleep is necessary to our physiology, so depression seems necessary to our psychic economy. In some secret way, Thanatos nourishes Eros as well as opposes it. The two principles work in covert concert; though in most of us Eros dominates, in none of us is Thanatos completely subdued. However-and this is the paradox of suicide-to take one's life is to behave in a more active, assertive, "erotic" way than to helplessly watch as one's life is taken away from one by inevitable mortality. Suicide thus engages with both the death-hating and the death-loving parts of us: on some level, perhaps, we may envy the suicide even as we pity him. It has frequently been asked whether the poetry of Plath would have so aroused the attention of the world if Plath had not killed herself. I would agree with those who say no. The death-ridden poems move us and electrify us because of our knowledge of what happened. Alvarez has observed that the late poems read as if they were written posthumously, but they do so only because a death actually took place. "When I am talking about the weather / I know what I am talking about," Kurt Schwitters writes in a Dada poem (which I have quoted in its entirety). When Plath is talking about the death wish, she knows what she is talking about. In 1966, Anne Sexton, who committed suicide eleven years after Plath, wrote a poem entitled "Wanting to Die," in which these startlingly informative lines appear: But suicides have a special language.
Like carpenters they want to know which tools.
They never ask why build.
When, in the opening of "Lady Lazarus," Plath triumphantly exclaims, "I have done it again," and, later in the poem, writes, Dying Is an art, like everything else.
I do it exceptionally well.
I do it so it feels like hell.
I do it so it feels real.
I guess you could say I've a call, we can only share her elation. We know we are in the presence of a master builder.
Stichwörter: literary-criticism
I hope each of us owns the facts of her or his own life," Hughes wrote in a letter to the Independent in April, 1989, when he had been goaded by a particularly intrusive article. But, of course, as everyone knows who has ever heard a piece of gossip, we do not "own" the facts of our lives at all. This ownership passes out of our hands at birth, at the moment we are first observed.
The organs of publicity that have proliferated in our time are only an extension and a magnification of society's fundamental and incorrigible nosiness. Our business is everybody's business, should anybody wish to make it so. The concept of privacy is a sort of screen to hide the fact that almost none is possible in a social universe. In any struggle between the public's inviolable right to be diverted and an individual's wish to be left alone, the public almost always prevails. After we are dead, the pretense that we may somehow be protected against the world's careless malice is abandoned. The branch of the law that putatively protects our good name against libel and slander withdraws from us indifferently. The dead cannot be libelled or slandered. They are without legal recourse.
Stichwörter: literary-criticism
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