“Rabindranath only became a temporary craze, but never a serious literary figure in the Western scene. He was intrinsically an outsider to the contemporary literary tradition of the West, and after a short, misunderstood visit to the heart of the West, he again became an outsider.”
ellauri055.html on line 40: Momus (/ˈmoʊməs/; Greek: Μῶμος Momos) was in Greek mythology the personification of satire and mockery, two stories about whom figure among Aesop's Fables. During the Renaissance, several literary works used him as a mouthpiece for their criticism of tyranny, while others later made him a critic of contemporary society. Onstage he finally became the figure of harmless fun.
ellauri067.html on line 233: American literary critic Harold Bloom named him as one of the four major American novelists of his time, along with Don DeLillo, Philip Roth, and Cormac McCarthy. Kekä toi Cormac on? For that matter, who is Harold Bloom?
ellauri067.html on line 241: Harold Bloom was an American literary critic and the Sterling Professor of Humanities at Yale University. Since the publication of his first book in 1959, Bloom has written more than forty books of literary criticism, several books discussing religion, and one novel. He edited hundreds of anthologies.
ellauri067.html on line 270: Traversing a wide range of trivia, Gravity´s Rainbow transgresses boundaries between high and low culture, between literary propriety and profanity, between boredom and porn, and between popular science and speculative metaphysics.
ellauri069.html on line 93: It can certainly look, in short, as though Barthelme, like Warhol, were simply dropping the question of whether something counts as literature or not, since markers of the literary are impossible to find in his writing. The high-art traditionalist has no place to hang his beret. Daugherty’s purpose is to convince us that this was not Barthelme’s intention.
ellauri077.html on line 46: This article examines David Foster Wallace’s Infinite Jest alongside its eponymous film, arguing that they share a common purpose, but that the former succeeds where the latter fails. Coupled with a biographical and phenomenological analysis, the aim of this examination is to better understand Infinite Jest’s place in the cultural and literary movement away from post-modernism. Through the novel, Wallace seeks a cure for the postmodern malaise that is irony, which creates a distancing effect between author and reader. I argue that he collapses this distance by creating a conversation-like novel that uses sentimentality and endnotes to converse with a generation bombarded with easily consumable irony from television, advertisements, and even art. The results of this conversation are the curtailing of passive consumption of entertainment and the beginning of a new sincerity in literature, which allows for grand narratives without the unending cynicism of postmodernism.
ellauri077.html on line 816: Meaningless words. In certain kinds of writing, particularly in art criticism and literary criticism, it is normal to come across long passages which are almost completely lacking in meaning. Words like romantic, plastic, values, human, dead, sentimental, natural, vitality, as used in art criticism, are strictly meaningless, in the sense that they not only do not point to any discoverable object, but are hardly ever expected to do so by the reader. When one critic writes, "The outstanding feature of Mr. X's work is its living quality," while another writes, "The immediately striking thing about Mr. X's work is its peculiar deadness," the reader accepts this as a simple difference opinion. If words like black and white were involved, instead of the jargon words dead and living, he would see at once that language was being used in an improper way.
ellauri078.html on line 196: It was written by Isaac Watts, and published in Hymns and Spiritual Songs in 1707. It is significant for being an innovative departure from the early English hymn style of only using paraphrased biblical texts, although the first two lines of the second verse do paraphrase St Paul at Galatians 6:14. The poetry of "When I survey..." may be seen as English literary baroque.
ellauri083.html on line 82: The writer Pearl S. Buck emerged into literary stardom in 1931 when she published a book called "The Good Earth." That story of family life in a Chinese village won the novelist international acclaim, the Pulitzer, and eventually a Nobel Prize. Her upbringing in China as the American daughter of missionaries served as inspiration for that novel and many others. By her death in 1973, Pearl Buck had written around 100 books.
ellauri083.html on line 88: LYDEN: "The Eternal Wonder" will be published this fall. Edgar Walsh, who manages his mother's literary estate, says he had a complex reaction to the news.
ellauri094.html on line 654: The body of Algernon Charles Swinburne’s poetry is so vast and varied that it is difficult to generalize about it. Swinburne wrote poetry for more than sixty years, and in that time he treated an enormous variety of subjects and employed many poetic forms and meters. He wrote English and Italian sonnets, elegies, odes, lyrics, dramatic monologues, ballads, and romances; and he experimented with the rondeau, the ballade, and the sestina. Much of this poetry is marked by a strong lyricism and a self-conscious, formal use of such rhetorical devices as alliteration, assonance, repetition, personification, and synecdoche. Swinburne’s brilliant self-parody, “Nephilidia,” hardly exaggerates the excessive rhetoric of some of his earlier poems. The early A Song of Italy would have more effectively conveyed its extreme republican sentiments had it been more restrained. As it is, content is too often lost in verbiage, leading a reviewer for The Athenaeum to remark that “hardly any literary bantling has been shrouded in a thicker veil of indefinite phrases.” A favorite technique of Swinburne is to reiterate a poem’s theme in a profusion of changing images until a clear line of development is lost. “The Triumph of Time” is an example. Here the stanzas can be rearranged without loss of effect. This poem does not so much develop as accrete. Clearly a large part of its greatness rests in its music. As much as any other poet, Swinburne needs to be read aloud. The diffuse lyricism of Swinburne is the opposite of the closely knit structures of John Donne and is akin to the poetry of Walt Whitman.
ellauri094.html on line 696: The literary device anadiplosis is detected in two or more neighboring lines. The word/phrase loved connects the lines.
ellauri095.html on line 39: Some critics believe he merely coined a name for poems with mixed, irregular feet, like free verse. However, while sprung rhythm allows for an indeterminate number of syllables to a foot, Hopkins was very careful to keep the number of feet per line consistent across each individual work, a trait that free verse does not share. Sprung rhythm may be classed as a form of accentual verse, as it is stress-timed, rather than syllable-timed, and while sprung rhythm did not become a popular literary form, Hopkins's advocacy did assist in a revival of accentual verse more generally.
ellauri095.html on line 86: Gerard Manley Hopkins SJ (28 July 1844 – 8 June 1889) was an English poet and Jesuit priest, whose posthumous fame established him among the leading Victorian poets. His manipulation of prosody – particularly his concept of sprung rhythm – established him as an innovative writer of verse, as did his technique of praising God through vivid use of imagery and nature. Only after his death did Robert Bridges begin to publish a few of Hopkins's mature poems in anthologies, hoping to prepare the way for wider acceptance of his style. By 1930 his work was recognised as one of the most original literary accomplishments of his century. It had a marked influence on such leading 20th-century poets as T. S. Eliot, Dylan Thomas, W. H. Auden, Stephen Spender and Cecil Day-Lewis.
ellauri095.html on line 121: By 1930 his work was recognised as one of the most original literary accomplishments of his century. It had a marked influence on such leading 20th-century poets as T. S. Eliot, Dylan Thomas, W. H. Auden, Stephen Spender and Cecil Day-Lewis.
ellauri095.html on line 213: it would appear that Arthur Hopkins’s superior sketching abilities encouraged his older but smaller brother to concentrate his energies on literary and religious creativity instead.
ellauri095.html on line 250: Both poets concluded their literary careers with devotional commentaries: in Hopkins’s case, his unfinished “Commentary on the Spiritual Exercises of St. Ignatius.”
ellauri097.html on line 132: Frank Kermode´s The Sense of an Ending (1967) was an early mention of Vaihinger as a useful methodologist of narrativity. He says that "literary fictions belong to Vaihinger’s category of 'the consciously false.' They are not subject, like hypotheses, to proof or disconfirmation, only, if they come to lose their operational effectiveness, to neglect."
ellauri097.html on line 296: He became a literary icon, but White knew that people rarely actually read his work. He professed not to care what people thought, but he would sometimes check for copies of his novels in local libraries. He would search for dog-ears and stains, to gauge how far in the book they had read. Most people, he deduced, never finished. The Australian reading public never quite warmed to White, and nothing much has changed. My grandmother “couldn’t stand him.” I have seen my mother take up one of his novels—The Solid Mandala—and after a few moments quite literally toss it aside. White’s books are metaphysical, lyrical, high modernist, full of baroque descriptions of landscapes, and unsparing in his examination of the people who live in them. For a country besotted with kitchen-sink realism and plain-speaking larrikins, Patrick White was baffling.
ellauri098.html on line 308: Many tropes originated in literary works. Literature being nearly as old as writing itself, most of The Oldest Ones in the Book date to the classics, most Public Domain Characters appeared in print well before the first TV broadcasts, and even today, with the supposedly dwindling popularity of books in favor of more modern medianote , there are books with enough cultural impact to spawn TV Tropes.
ellauri099.html on line 48: The longer and revised version of The Picture of Dorian Gray published in book form in 1891 featured an aphoristic preface—a defence of the artist's rights and of art for art's sake—based in part on his press defences of the novel the previous year. The content, style, and presentation of the preface made it famous in its own right, as a literary and artistic manifesto. In April 1891, the publishing firm of Ward, Lock and Company, who had distributed the shorter, more inflammatory, magazine version in England the previous year, published the revised version of The Picture of Dorian Gray.
ellauri106.html on line 69: From 1958 onwards, the couple lived in New York on the Lower East Side of Manhattan, and in 1959 they spent seven months in Italy on a Guggenheim grant. Upon their return, they both settled in Iowa City, where Roth led the Writers' Workshop at the University of Iowa. The experiences in small-town Iowa far away from the American metropolises flowed into Roth's second novel Letting Go (Other People's Worries), which was published in 1962, but in contrast to Roth's previously published volume of short stories Goodbye, Columbus caused mixed reactions from critics. Stanley Edgar Hyman, for example, criticized weaknesses in the narrative structure of the novel, the two narrative parts of which are only superficially connected, but praised what he saw as "the keenest eye for the details of American life since Sinclair Lewis". Letting Go is also the first novel in which Roth, as in numerous later works, made the writings of his literary predecessors an integral part of the narrative, and is therefore often referred to as Roth's first "Henry James novel".
ellauri106.html on line 73: Roth's skandalumwitterter bestselling novel Portnoy's Complaint (Portnoy's Complaint) was promoted in 1969 to a bang that made the writer widely publicized and also the discussion of literary pornography in American literary criticism.
ellauri106.html on line 78: In the American trilogy, the resurrected alter ego Zuckerman discovers the true identities of the protagonists of a sports idol in American Pastoral ( American Idyll, 1997), a radio star in I Married a Communist ( My Man, the Communist, 1998) and a professor emeritus in The Human Stain ( The Human Blemish, 2000) against the backdrop of changing American eras. American Pastoral was awarded the Pulitzer Prize in 1998 and is considered "a remarkable example of a literary interpretation of the descent of the initially so confident [American] post-war white society into the depths of uncertainty" as a result of the Vietnam War .
ellauri106.html on line 80: In the early 2000s, Roth met the young assistant editor Lisa Halliday at his literary agency Andrew Wylie. A love affair developed from having lunch together, which culminated in a lifelong deep friendship. Halliday processed the love and friendship for Roth in the highly acclaimed autobiographical inspired novel Asymmetrie, which she completed in 2016. Roth, who read the manuscript, liked it.
ellauri106.html on line 82: The story The Breast (Breast) from the following year, the literature professor David Kepesh transformed in into a female breast, awakens echoes of Franz Kafka, the Roth has for a special devotion among his literary models. The search for Kafka's traces led to his first visit to Prague in 1972, which was followed by annual trips until the author was refused an entry visa in 1977. In Czechoslovakia Roth got to know contemporary Czech literature and was in contact with Ivan Klíma, Milan Kundera and Ludvík Vaculík in particular.
ellauri106.html on line 175: Word has come that Philip Roth died on Tuesday in New York City at the age of 85. He was widely considered the last of the Great American Novelists of the late 20th Century the peer of heavy hitters John Updike and Saul Bellow. Roth himself believed that the novel, which had ruled for a century as the supreme and exalted American literary form, is doomed to becoming a cult niche in the Age of the Internet for a diminishing educated elite, “I think always people will be reading them but it will be a small group of people. Maybe more people than now read Latin poetry, but somewhere in that range…” Ever a realist, Roth was sanguine with the prospect.
ellauri106.html on line 179: Today the lengthy obituaries are all laudatory. Tomorrow or the next day I can safely predict that the backlash will begin with harshly critical essays. Leading the way will be Feminists critics who will denounce the whole cabal of elite white men as the custodians of the literary cannon. More pointedly they will charge Roth with toxic masculinity and misogyny and will come loaded for bear with plenty of quotes from his work. They will also have the example and testimony of his two ex-wives, both of whom showed up thinly disguised in his novels—a Margaret Martinson in When She Was Good and actress Clare Bloom in I Married a Communist. Bloom penned her own bitter exposé of their 14-year-long relationship and four year marriage in he memoir Leaving the Doll’s House.
ellauri106.html on line 331: William Dean Howells (/ˈhaʊəlz/; March 1, 1837 – May 11, 1920) was an American realist novelist, literary critic, and playwright, nicknamed "The Dean of American Letters".
ellauri107.html on line 272: Roth confesses, Oh, I wanted to be literary, wanted to be influencer. There were Flaubert and Henry James, Dreiser and Sherwood Anderson. But I discovered I was but a raucous talent.
ellauri107.html on line 418: In Babbitt (1922), Sinclair Lewis created a living and breathing man with recognizable hopes and dreams, not a caricature. To his publisher, Lewis wrote: “He is all of us Americans at 46, prosperous, but worried, wanting — passionately — to seize something more than motor cars and a house before it's too late.” George F. Babbitt's mediocrity is central to his realism; Lewis believed that the fatal flaw of previous literary representations of the American businessman was in portraying him as “an exceptional man.”
ellauri107.html on line 420: The social critic and satirist Pete Mencken, ardent supporter of Sinclair Lewis, called himself “an old professor of Babbitry” and said that Babbitt was a stunning work of literary realism about American society.
ellauri107.html on line 422: George F. Babbitt was an archetype of the American city dwellers who touted the virtues of Republicanism, Presbyterianism, and absolute conformity because "it is not what he feels and aspires that moves him primarily; it is what the folks about him will think of him. His politics is communal politics, mob politics, herd politics; his religion is a public rite wholly without subjective significance." Mencken said that Babbitt was the literary embodiment of everything wrong with American society.
ellauri109.html on line 383: Flaubert's dozens of long letters to her, in 1846–1847, then especially between 1851 and 1855, are one of the many joys of his correspondence. Many of them are a precious source of information on the progress of the writing of Madame Bovary. In many others, Flaubert gives lengthy appreciations and critical comments on the poems that Louise Colet sent to him for his judgment before offering them for publication. The most interesting of these comments show the vast differences between her and him on the matter of style and literary expression, she being a gushing Romanticist, he deeply convinced that the writer must abstain from gush and self-indulgence.
ellauri109.html on line 511: Many literary figures have dreaded the spectre of the biographer. Charles Dickens, Wilkie Collins, Walt Whitman, Henry James, and Sylvia Plath are but a few who put their letters and journals into the fire. Lea poltti päiväkirjansa kommunistien pelossa ja repi lottapuvun matonkuteixi. James admitted to his nephew and literary executor that his singular desire in old age was to “frustrate as utterly as possible the postmortem exploiter.”
ellauri109.html on line 603: That first summer I spent a week in Connecticut, interviewing him six hours a day in his studio. Now and then we had to take bathroom breaks, and we could hear each other’s muffled streams through the door. One lovely sun-dappled afternoon I sat on his studio couch, listening to our greatest living novelist empty his bladder, and reflected that this was about as good as it gets for an American literary biographer.
ellauri109.html on line 708: Of Dramatick Poesie (1668) was arguably the best of his essays. Unsurprisingly, Dryden constantly defended his own literary practice.
ellauri110.html on line 308: Sofia Prorokova, the author of Isaak Levitan's biography, suggested that the house with a terrace and a mezzanine in question might have been the one belonging to Anna N. Turchaninova, whose Gorka estate in the Tver Governorate Chekhov visited in the summer of 1895.According to Prorokova, the story might have been based upon the difficult relationship Levitan had with the Turchaninova sisters (hence the similarity in surnames), of whom the younger one, Varvara, the possible prototype for Zhenya (Missyuss), had a bizarre diminutive nickname, Lyulyu. This view was shared by the literary historian Leonid Grossman.
ellauri118.html on line 834: Her father belonged to the lesser nobility, and was for awhile governor of Pontoise, and later of Havre. Her mother was sprung from an ancient family of Provence, among whom, says Auger, literary talent had long been a heritage; but the mother herself — if we are to believe Cardinal de Retz, but why should we believe that fuckhead — possessed no talent save that of intrigue. Well that's half of a novelist's job according to narratologists.
ellauri119.html on line 680: From a literary point of view her novels have little character development and are cast in black and white terms. The important things in this world are just not that easy to discern, so she is painting a child´s simple view of the world, perhaps even an autistic child´s view, who doesn´t have the capability of caring for others. Ayn Rand found early inspiration for her protagonists in a 1920´s serial killer, William Hickman and used that sociopath as the model for the heros of her novels. See: Ayn Rand, Hugely Popular Author and Inspiration to Right-Wing Leaders, Was a Big Admirer of Serial Killer
ellauri133.html on line 79:

There are fashions in writing, just as there are in clothes. The modern trend, particularly for genre or YA fiction, but increasingly in literary fiction too, is to start the story with the main character on the first page, and to start with the inciting incident. No backstory before chapter three, and then pare it to the bone. "YA" most likely stands for young adult. There hardly is a brand of monkeys that are stupider than young adults. Except YA writers. Give them a dildo and it will keep them occupied for hours.

There are lots of books out there. The reader has to decide quickly which one she is going to spend her time and money on. She's not going to buy something just because it might get good later on. Unless you have won a major prize or had a film made from your book, chances are your reader has never heard of you. She’s going to read a page or two and decide. If it’s on Amazon, she’s going to click “Look Inside” and read a few pages. Yep, "your reader" will do just that, being an analphabet in for mind-numbing pulp. "My reader" takes time to choose a book by its literary merits, not by its gaudy cover and advertising blurbs. And most likely from a public library on the recommendation of a friend. Preferably after reading the plot synopsis.

xxx/ellauri057.html on line 856: What the novel actually delivers is a narrative of constant progress and growth, without any consideration of potential limits or unintended detrimental side-effects. In Markens grøde, human nature is assumed to create desires that can only be fulfilled through permanent increases in production and consumption, irrespective of any material environmental restraints. In combination with an ideology of human population growth, the novel, instead of conveying »green values«, constitutes a literary expression of precisely the ideas and processes that led to the Great Acceleration and the transition into the Anthropocene.
xxx/ellauri068.html on line 72: Agamali-oglu S. A. (1929). Novyiy tyurkskiy alfavit (The New Turkic Alphabet) // KrasnayaNiva (Red Field), illustrated literary and political magazine. Izvestia of the USSR and the Central Executive Committee. (16), 14.
xxx/ellauri075.html on line 151: He developed his thinking in a second book on Fyodor Dostoyevsky and Frederich Nietzsche, which increased Shestov's reputation as an original and incisive thinker. In All Things Are Possible (published in 1905) Shestov adopted the aphoristic style of Friedrich Nietzsche to investigate the difference between Russian and European Literature. Although on the surface it is an exploration of numerous intellectual topics, at its base it is a sardonic work of Existentialist philosophy which both criticizes and satirizes our fundamental attitudes towards life situations. D.H. Lawrence, who wrote the Foreword to S.S. Koteliansky's literary translation of the work, summarized Shestov's philosophy with the words: " 'Everything is possible' - this is his really central cry. It is not nihilism. It is only a shaking free of the human psyche from old bonds. The positive central idea is that the human psyche, or soul, really believes in itself, and in nothing else". Shestov deals with key issues such as religion, rationalism, and science in this highly approachable work, topics he would also examine in later writings such as In Job's Balances. Shestov's own key quote from this work is probably the following: "...we need to think that only one assertion has or can have any objective reality: that nothing on earth is impossible. Every time someone wants to force us to admit that there are other, more limited and limiting truths, we must resist with every means we can lay hands on".
xxx/ellauri075.html on line 307: Central to Klages' thought is a linguistic opposition to logocentrism, a term introduced by Klages to diagnose a fixation on language or words to the detriment of the things to which they refer. (Put that in your pipe and smoke, Benjamin!) His formulation of this concept came to be of significant importance to semiotic studies of Western science and philosophy, namely within Derridean deconstruction. Klages is similarly seen as a buggybear to critical theory, deep ecology, and existential phenomenology. Historically little of his odious literary output has been available in English, being too thick and long-winded to translate.
xxx/ellauri075.html on line 330: Walter Bendix Schönflies Benjamin (/ˈbɛnjəmɪn/; German: [ˈvaltɐ ˈbɛnjamiːn];[5] 15 July 1892 – 26 September 1940) was a German Jewish philosopher, cultural critic and essayist. An electric tinker, combining elements of German idealism, Romanticism, Western Marxism, and Jewish mysticism, Benjamin made enduring and influential contributions to aesthetic theory, literary criticism, and historical materialism. He was associated with the Frankfurt School, and also maintained formative friendships with thinkers such as playwright Bertolt Brecht and Kabbalah scholar Gershom Shulem. He was also related to German political theorist and philosopher Hannah Arendt through her first marriage to Benjamin's cousin, Günther Anders.
xxx/ellauri075.html on line 332: Among Benjamin's best known works are the essays "The Task of the Translator" (1923), "The Work of Art in the Age of Mechanical Reproduction" (1935), and "Theses on the Philosophy of History" (1940). His major work as a literary critic included essays on Baudelaire, Goethe, Kafka, Kraus, Leskov, Proust, Walser, and translation theory. He also made major translations into German of the Tableaux Parisiens section of Baudelaire's Les Fleurs du mal and parts of Proust's À la recherche du temps perdu. In 1940, at the age of 48, Benjamin committed suicide at Portbou on the French–Spanish border while attempting to escape from the invading Wehrmacht. Though popular acclaim eluded him during his life, the decades following his death won his work posthumous renown.
xxx/ellauri075.html on line 460: His third novel, American Psycho (1991), was his most successful; upon its release, the literary establishment widely condemned it as overly violent and misogynistic.
xxx/ellauri075.html on line 470: "Anyone who finds David Foster Wallace a literary genius has got to be included in the Literary Doucebag-Fools Pantheon [sic]," said Ellis.
xxx/ellauri075.html on line 472: Ellis and Wallace are literary rivals that go way back, and Ellis’s hostile tweets are just the latest in a two-decades-old exchange of literary beef.
xxx/ellauri085.html on line 106: If it is a surprise to learn that Lawrence originally conceived of Women in Love as a money-making pot-boiler, it comes as an endearing shock to read that James Joyce submitted some of his early work to the firm of Mills and Boon. There is no record of the reader’s report, beyond the fact that he rejected Dubliners as unsuitable material for the unique imprint of that publishing house. For his part, Lawrence had no doubt that the author of Ulysses was the real smutmonger of modern fiction. ‘My God, what a clumsy olla putrida James Joyce is!’, he wrote to Aldous Huxley, ‘nothing but old fags and cabbage-stumps of quotations from the Bible and the rest stewed in the juice of deliberate journalistic dirty-mindedness.’ To his wife Frieda he wrote, after reading Ulysses, that ‘the last part of it is the dirtiest, most indecent, obscene thing ever written’; and he later complained that Joyce had degraded the novel to the level of an instrument for measuring twinges in the toes of unremarkable men. Joyce’s reply to the charge that he was just another pornographer doing dirt on sex was to claim that at least he had never made the subject predictable or boring. He denounced Lady Chatterbox’s Lover — his title for Lawrence’s notorious novel — as a ‘lush’ production in ‘sloppy English’ and dismissed its ending as ‘a piece of propaganda in favour of something which, outside of DHL’s country at any rate, makes all the propaganda for itself’. It is a minor irony of literary history that both men were married at Kensington Register Office in London, although, unlike Lawrence, the Irishman allowed a decent interval of twenty-five years to elapse before the solemnisation of his nuptials.
xxx/ellauri086.html on line 399: In October 2016, investigative reporter Claudio Gatti published an article jointly in Il Sole 24 Ore and Frankfurter Allgemeine Zeitung, that relied on financial records related to real estate transactions and royalties payments to draw the conclusion that Anita Raja, a Rome-based translator, is the real author behind the Ferrante pseudonym. Gatti's article was criticized by many in the literary world as a violation of privacy, though Gatti contends that "by announcing that she would lie on occasion, Ferrante has in a way relinquished her right to disappear behind her books and let them live and grow while their author remained unknown. Indeed, she and her publisher seemed to have fed public interest in her true identity." British novelist Matt Haig tweeted, "Think the pursuit to discover the 'real' Elena Ferrante is a disgrace and also pointless. A writer's truest self is the books they write." The writer Jeanette Winterson, in a Guardian article, denounced Gatti's investigations as malicious and sexist, saying "At the bottom of this so-called investigation into Ferrante's identity is an obsessional outrage at the success of a writer – female – who decided to write, publish and promote her books on her own terms." She went on to say that the desire to uncover Ferrante's identity constitutes an act of sexism in itself, and that "Italy is still a Catholic country with strong patriarchial attitudes towards women." Others responding to Gatti's article suggested that knowledge of Ferrante's biography is indeed relevant.
xxx/ellauri086.html on line 595: "The Purloined Letter" is a short story by American author Edgar Allan Poe. It is the third of his three detective stories featuring the fictional C. Auguste Dupin, the other two being "The Murders in the Rue Morgue" and "The Mystery of Marie Rogêt". These stories are considered to be important early forerunners of the modern detective story. It first appeared in the literary annual The Gift for 1845 (1844) and soon was reprinted in numerous journals and newspapers.
xxx/ellauri086.html on line 894: Poe believed that all literary works should be short. He writes, "[...] there is a distinct limit, as regards length, to all works of literary art — the limit of a single sitting [...]" He especially emphasized this "rule" with regards to poetry, but also noted that the short story is superior to the novel for this reason.
xxx/ellauri087.html on line 454: Many authors have borrowed the phrase "World enough and time" from the poem's opening line to use in their book title or inside. The most famous is Robert Penn Warren's 1950 novel World Enough and Time: A Romantic Novel, about murder in early-19th-century Kentucky. (WTF,? bet Ernest Heminway's booklet Farewell for Arms (p. 129) is famouser.) With variations, it has also been used for books on the philosophy of physics (World Enough and Space-Time: Absolute versus Relational Theories of Space and Time), geopolitics (World Enough and Time: Successful Strategies for Resource Management), a science-fiction collection (Worlds Enough & Time: Five Tales of Speculative Fiction), and a biography of the poet (World Enough and Time: The Life of Andrew Marvell). The phrase is used as a title chapter in Andreas Wagner's pop science book on the origin of variation in organisms, "Arrival of the Fittest". The verse serves as an epigraph to Mimesis, literary critic Erich Auerbach's most famous book. It is also the title of an episode of Big Finnish Productions's The Diary of River Song series 2, and of part 1 of Doctor Who's Series 10 finale. It is the title of a Star Trek New Voyages fan episode where George Takei reprises his role as Sulu after being lost in a rift in time. The title of Robert A. Heinlein's 1973 novel Time Enough for Love also echoes this line.
xxx/ellauri103.html on line 220: In his 2009 novel Little Bee, Chris Cleave, who as it happens is participating in this festival, dared to write from the point of view of a 14-year-old Nigerian girl, though he is male, white, and British. I’ll remain neutral on whether he “got away with it” in literary terms, because I haven’t read the book yet. But most likely it is drivel. I love it!
xxx/ellauri103.html on line 440: The abandonment by the fan sites follows that by the stars of the Harry Potter films, including Daniel Radcliffe, Emma Watson, Rupert Alexander Lloyd Grint, and Eddie Redmayne. Also, four authors quit Rowling’s literary agency after the company declined to issue a public statement supporting transgender rights. Fortunately and Death eaters have staunchly rallied to Rowling´s side. Dementoreita oli sillä ateistipirullakin joka kirjoitti His Dark Materials, annas olla, juu Philip Pullman. Siitä lisää fanzulle omistetussa albumissa 269.
xxx/ellauri113.html on line 480: Berlinski has written works on systems analysis, the history of differential topology, analytic philosophy, and the philosophy of mathematics. Berlinski has authored books for the general public on mathematics and the history of mathematics. These include The Secrets of the Vaulted Sky (2003), aimed to redeem astrology as "rationalistic"; Publishers Weekly described the book as offering "self-consciously literary vignettes ... ostentatious erudition and metaphysical pseudo-profundities".
xxx/ellauri116.html on line 303: Vargas Llosa began his literary career in earnest in 1957 with the publication of his first short stories, "The Leaders" ("Los jefes") and "The Grandfather" ("El abuelo"), while working for two Peruvian newspapers. Upon his graduation from the National University of San Marcos in 1958, he received a scholarship to study at the Complutense University of Madrid in Spain. In 1960, after his scholarship in Madrid had expired, Vargas Llosa moved to France under the impression that he would receive a scholarship to study there; however, upon arriving in Paris, he learned that his scholarship request was denied. Despite Mario and Julia's unexpected financial status, the couple decided to remain in Paris where he began to write prolifically. Their marriage lasted only a few more years, ending in divorce in 1964. A year later, Vargas Llosa married his first cousin, Patricia Llosa, with whom he had three children: Álvaro (born 1966), a writer and editor; Gonzalo (born 1967), an international civil servant; and Fata Morgana (born 1974), a pornographer.
xxx/ellauri121.html on line 304: After graduating in English from the University of Toronto, the young poet— she was by now publishing in Canadian literary magazines—enrolled in graduate school at Radcliffe, the all-female women university at Harvard, in 1961. She was chagrined by the intensely chauvinistic atmosphere: among other things, female students were not allowed access to the university’s modern poetry collection in the Lamont Library. Only men could read all the juicy bits.
xxx/ellauri121.html on line 336: Atwood has not won the Nobel (this was written 1998), at least not yet. But the petite 58-year-old novelist (Cat’s Eye, Alias Grace) and poet (Power Politics, Morning in the Burned House) has become internationally famous on a scale no Canadian writer of serious literature ever has. She is, in her own words, “one of the few literary writers who has gotten lucky”—which means she is read not just by intellectuals, but by hairdressers, chartered accountants and farmers. Easy reading, straightforward sentiments.
xxx/ellauri123.html on line 745: Evidence is presented that the author of Lolita, Vladimir Nabokov, was himself consciously a pedophile who acted out his desires vicariously through his writing. Drawing upon his literary works and biography, the manifest and genetic origins of Nabokov´s pedophilia are traced back to an unresolved oedipal conflict complicated by childhood sexual abuse. Humbert Humbert, the protagonist in the novel Lolita, is the classic literary portrayal of a pedophile. Evidence is presented that the author of Lolita, Vladimir Nabokov, was himself consciously a pedophile who acted out his desires vicariously through his writing. Drawing upon his literary works and biography, the manifest and genetic origins of Nabokov´s pedophilia are traced back to an unresolved oedipal conflict complicated by childhood sexual abuse. The raw power of Lolita derives from the abreactive discharge of a libidinal cathexis denied any other mode of expression.
xxx/ellauri127.html on line 112: When Nabokov died in 1977, The New York Times hailed him as “a giant in the world of literature.” Two of his novels, “Lolita” and “Pale Fire,” landed on the Modern Library’s 1998 list of the best English novels of the 20th century. His legions of fans regard Nabokov’s failure to win a Nobel Prize as one of the great literary travesties of the 20th century.
xxx/ellauri127.html on line 116: There are currently five scholarly journals devoted to Nabokov studies. His allusive style and trilingual (English, French, Russian) wordplay are catnip for academics, who endlessly parse challenging texts like “Pale Fire” — a novel in verse, followed by obscurantist commentary — finding new apercus tailor-made for small-journal publication. Nabokov’s apotheosis in academe is quite ironical, because he and his close friend, the literary critic Edmund Wilson, shared an icy disdain for the ivory tower. They viewed universities as ATMs, handy because there were so many of them, and because they were flush with cash. Nabokov, who arrived in the United States penniless in 1940, had to rely on teaching assignments at Wellesley and Cornell to feed his family for 15 years. The moment “Lolita” made him financially independent, he fled Cornell for Switzerland and never set foot in a classroom again.
xxx/ellauri127.html on line 124: I would argue that the first real fissure in the adulatory critical wall hailing the “literary giant” came in 1990, in George Steiner’s erudite assessment of the first volume of Brian Boyd’s Nabokov biography, “Vladimir Nabokov: The Russian Years.” Writing in The New Yorker, Steiner perceived, a lack of generosity of spirit in Boyd’s subject: “Nabokov’s case seems to entail a deep-lying inhumanity, or, more precisely, unhumanity,” Steiner wrote. “There is compassion in Nabokov, but it is far outweighed by lofty or morose disdain.”
xxx/ellauri127.html on line 128: I’m a “Lolita” fan, but let’s face it, Solnit is right: This is a sprightly little tale about the serial rape of an unwilling or indifferent 12-year-old, embraced and promoted by the male literary establishment.
xxx/ellauri127.html on line 236: Despite the cleverness and thickness of literary references of Alfred Appel’s « The Annotated Lolita« , one can’t help thinking the point is missing. Witten miälestä Humbert ei ole kukaan muu kuin Dodgson
xxx/ellauri127.html on line 282: The most famous literary version of Melusine tales, that of Jean d'Arras, compiled about 1382–1394, was worked into a collection of "spinning yarns" as told by ladies at their spinning coudrette (coulrette (in French)). He wrote The Romans of Partenay or of Lusignen: Otherwise known as the Tale of Melusine, giving source and historical notes, dates and background of the story. Another version, Chronique de la princesse (Chronicle of the Princess). tells how in the time of the Crusades, Elynas, the King of Albany (an old name for Scotland or Alba), went hunting one day and came across a beautiful lady in the forest. She was Pressyne, mother of Melusine. He persuaded her to marry him but she agreed, only on the promise—for there is often a hard and fatal condition attached to any pairing of fay and mortal—that he must not enter her chamber when she birthed or bathed her children. She gave birth to triplets. When he violated this taboo, Pressyne left the kingdom, together with her three daughters, and traveled to the lost Isle of Avalon.
xxx/ellauri127.html on line 618: A person from Porlock was an unwelcome visitor to Samuel Taylor Coleridge during his composition of the poem Kubla Khan in 1797. Coleridge claimed to have perceived the entire course of the poem in an opiatic dream, but was interrupted by this visitor from Porlock while in the process of writing it. Kubla Khan, only 54 lines long, was never completed. Thus "person from Porlock", "man from Porlock", or just "Porlock" are literary allusions to unwanted intruders who disrupt inspired creativity.
xxx/ellauri128.html on line 153: Walter "Savage" Landor (1775–1864) oli englantilainen kirjailija. Hän oli niin kiivasluontoinen että hänet erotettiin sekä Rugbyn koulusta että myöhemmin Oxfordin yliopistosta. Hän siirtyi Lontooseen, missä hän julkaisi englannin ja latinan kielellä ensimmäiset runoelmansa. Landorin ensimmäinen laajahko runoteos oli Gebir (1798). Tässä, kuten Landorin myöhemmissäkin runoissa, huomaa järvikoulun ja varsinkin Byronin ällöömän Robert Southeyn vaikutusta. Landorin draamat Count Julian (1811), Andrea of Hungary ja Giovanni of Naples (1839) eivät menestyneet näyttämöllä, ne olivatkin aivan paskoja. Landor eli ahtaissa taloudellisissa oloissa enimmäkseen Walesissa vuoteen 1805, jolloin hän isänsä kuoltua peri kokonaisen omaisuuden. Hän lähti 1808 Espanjaan taistelemaan ranskalaisia vastaan, värväsi omilla varoillaan soturijoukon ja joutui siksi taas taloudelliseen ahdinkoon. Hän siirtyi 1815 Italiaan, missä hän asui 20 vuotta, loppuiällään taloudellisten huolien rasittamana, joihin hän ilman Robert Browningin apua olisi sortunut. Samoin kuin lordi Byron ja Leigh Hunt, myös Landor oli intohimoinen vapauden (= britti-imperialismin) rakastaja, ja vapauden asialle hän oli valmis uhraamaan omaisuutensa. Landorin pääteos on Imaginary conversations of imaginary literary men and statesmen, jonka kaksi edellistä osaa ilmestyivät 1824 ja kolme jälkimmäistä 1829. Teos on täynnä tekosyvällisiä ajatuksia esitettynä kauniilla, dramaattisesti voimakkaalla, joskaan ei aina helposti tajuttavalla proosatyylillä. Eeva Kilpi on suomentanut osittain runon "On his seventy-fifth birthday" julkaisuun Tätä runoa en unohda. Pertti Niemisen suomentama runo "En käynyt kiistaan, hillizin izeni" on julkaistu kokoelmassa Kuu kultainen terälehti.
xxx/ellauri128.html on line 601: Margaret Caroline Anderson (November 24, 1886 – October 19, 1973) was the American founder, editor and publisher of the art and literary magazine The Little Review, which published a collection of modern American, English and Irish writers between 1914 and 1929. The periodical is most noted for introducing many prominent American and British writers of the 20th century, such as Ezra Pound and T. S. Eliot in the United States, and publishing the first thirteen chapters of James Joyce's then-unpublished novel, Ulysses. A large collection of her papers on Gurdjieff's teaching is now preserved at Beinecke Rare Book and Manuscript Library, Yale University. She was blond, shapely, with lean ankles and a Scandinavian face. ... In 1916, Anderson met Jane Heap. The two became lovers. In early 1924, through Alfred Richard Orage, Anderson came to know of spiritual teacher George Ivanovitch Gurdjieff, and saw performances of his 'Sacred dances', first at the 'Neighbourhood Playhouse', and later at Carnegie Hall. Shortly after Gurdjieff's automobile accident, Anderson, along with Georgette Leblanc, Jane Heap and Monique Surrere, moved to France to visit him at Fountainebleau-Avon, where he had set up his institute at Château du Prieuré in Avon.
xxx/ellauri137.html on line 652: John has just published another beautifully prepared edition of the "North Atlantic Review," a literary magazine with choice offerings in poetry, essays, short stories, and photos. Endorsed by Edward Eriksson, Literary Presentations, July 11, 2011, Edward worked with john in the same group.
xxx/ellauri137.html on line 662: Alok Mishra is a literary entrepreneur as well as a literary philanthropist who has been active in this field almost for a decade now (adding the individual capacity as well as organisational). He is currently active as the founder of BookBoys PR, a dedicated company which works for authors and publishers and help them reach the target readers. Alok has been in this field, promotions and author branding, for more than 4 years now.
xxx/ellauri138.html on line 274: The most recent acquisitions - around 15 boxes of material from 1945 to 2018 - can only be viewed with permission from the Roth estate, until 2050, when the logs will be open to everyone, according to Barbara Bair, the literary specialist in the "pisioning of library manus (Avishai again)."
xxx/ellauri148.html on line 86: The editor of the first-year literary magazine and a writer for the Lampoon, a semi-secret Sorrento Square organization that occasionally publishes a so-called humor magazine, McCormack says his writing experiences during college simply confirmed his future plans. "I was headed where I was headed and [Harvard] was the mosta humorous place to be along the way," he says.
xxx/ellauri154.html on line 99: While there were many contemporary critics of her comportment, many people accepted her behaviour until they became shocked with the subversive tone of her novels. Those who found her writing admirable were not bothered by her ambiguous or rebellious public behaviour. Victor Hugo commented "George Sand cannot determine whether she is male or female. I entertain a high regard for all my colleagues, but it is not my place to decide whether she is my sister or my brother. I bet s/he doesn´t know her/himself." She engaged in an intimate romantic relationship with actress Marie Dorval. She was buried in sand behind the chapel at Nohant. In 1880 her children sold the rights to her literary estate for 125,000 Francs[28] (equivalent to 36 kg worth of gold, or 1.3 million dollars in 2015 USD). Quite a handsome net worth for a lady. Sand often performed her theatrical works in her small private theatre at the Nohant estate. Sand was all for the bourgeois revolution but no communist. Victor Hugo, in the eulogy he gave at her funeral, said "the lyre was within her, so no wonder nothing else could fit in."
xxx/ellauri167.html on line 92: During the 1920's and 1930's he published poetry and dramatic works, and edited literary magazine. In 1940 he founded Fine Editions Press. He married Mollie Strauss in 1942.
xxx/ellauri178.html on line 132: “I wanted to be morally serious like Joseph Conrad,” Roth said of his young self. “I wanted to exhibit my dark knowledge like Faulkner. I wanted to write literature. Instead I took my dick's advice and wrote Portnoy's Complaint.” Stern, a lifelong friend, had noticed “a discrepancy between Philip as he told stories and Philip as he wrote stories.” The advice was of course excellent, with the resulting work putting Roth squarely in the middle of the literary map. Saatuaan juutalaisten palkinnon Roth sanoi et enää puuttuu feministipalkinto ja Kakutani Prize.
xxx/ellauri178.html on line 362: On 25 May 1901, Chekhov married Olga Knipper quietly, owing to his horror of weddings. She was a former protégée and sometime lover of Nemirovich-Danchenko whom he had first met at rehearsals for The Seagull. Up to that point, Chekhov, known as "Russia's most elusive literary bachelor," had preferred passing liaisons and visits to brothels over commitment. For the rest, he lived largely at Yalta, she in Moscow, pursuing her acting career. In 1902, Olga suffered a miscarriage; and Americans have offered evidence, based on the couple's letters, that conception may have occurred when Chekhov and Olga were apart, although Russian scholars have rejected that claim. Perhaps the semen was conveyed from Yalta to Moscow by snail mail.
xxx/ellauri179.html on line 201: Still, the fact that they bring up Hemingway’s Catholicism at all confirmed my own suspicions of a deeper, clear-eyed spiritual sensibility lurking behind all of Hemingway’s naturalistic plots — forcing me to reconsider everything I had previously thought about the man. I see Catholicism as playing a central role in Hemingway’s literary vision and moral landscape. Non-catholics just turn away from the religious clues in his work to focus on his public image, war exploits, and psychological instability — all the while missing that singularly under-reported and significant aspect of Hemingway’s life as a writer: his Catholicism.
xxx/ellauri179.html on line 288: After he had committed suicide at Ketchum, Idaho, in 1961, the literary position of the 1954 Nobel Laureate changed significantly and the aversion has, in a way, even become stronger.
xxx/ellauri179.html on line 290: The posthumously published novels, such as Islands in the Stream (1970) and The Garden of Eden (1986), have disappointed many of the old Hemingway readers. However, rather than bearing witness to declining literary power, (which, considering the author’s declining mental health is indeed a rather trivial observation) the late works confront us with a reappraisal and reconsideration of basic values. Well they needed one to be sure.
xxx/ellauri179.html on line 294: The slang word “hard-boiled" originated in American Army World War I training camps, and has been in common, colloquial usage since about 1930. It was a product of twentieth century cooking. To be “hard-boiled” meant a 10 minute egg, i.e. unfeeling, callous, coldhearted, cynical, rough, obdurate, unemotional, without sentiment. Later it became a literary term,
xxx/ellauri179.html on line 606: Ernest Hemingway squirmed as his second wife, Pauline, read aloud in 1927 from Henry James' novel The Awkward Age. Hemingway wondered why James bailed his characters out of their frequent inactivity by inserting a drawing room scene; and, as he was to do frequently during the next thirty years, he freely criticized the quality of James' works, "and knowing nothing about James he seems to me to be a shit." Too, he was quick to criticize the male protagonists of James,". .and the men all without any exception talk and think like fairies except a couple of caricatures of brutal outsiders". Carlos Baker observes that Hemingway, the "brutal outsider" himself, was at this time publishing Men Without Women, whose sales had reached 15,000 in the first three months after publication. But now Hemingway, the outsider, clearly in literary ascendance, was becoming acquainted with James' works; his artistic and personal recognition of James in future years was, for the most part, to take the form of a peculiar enmity. He was often to refer to James in highly derisive terms almost to the end of his own life. Hemingway's lese majeste towards him takes the form of a sporadic obsession that reveals more about Hemingway's maturity than James' imagined frailties.
xxx/ellauri179.html on line 616: The newest biography of Henry James is the work of a Vermont law professor who has written one earlier biography, Honorable Justice, The Life of Oliver Wendell Holmes, of the “great dissenter” on the Supreme Court in the first half of our century. Proceeding from the law into literature, Sheldon M. Novick tells us in a book titled Henry James, The Young Master–as if James were a young Mozart or a Paganini and didn’t work hard to achieve literary mastery–that the celibate and sexually diffident novelist, who put most of his life into his art, was in reality a regular guy who “underwent the ordinary experiences of life.” In fact, says Novick, he had an affair at the end of the Civil War with–yes, Oliver Wendell Holmes Jr.
xxx/ellauri179.html on line 619: Novick’s attempt to find love affairs in James’ life reminds me of the 1920s, when there were no biographies of James, and critics loved to speculate on the mysteries of his privacy. Van Wyck Brooks, a skillful writer of pastiche, produced his quasi-biographical Pilgrimage of Henry James to prove the novelist was a literary failure because he had uprooted himself from the United States. Edna Kenton, a devoted Jamesian in Greenwich Village, demonstrated in a biting review in The Bookman that Brooks used important James quotations out of context. Years later, Brooks confessed to having nightmares “in which Henry James turned great luminous menacing eyes upon me.”
xxx/ellauri179.html on line 623: What evidence does Novick offer for the James-Holmes “affair”? Just two French words James uses in his long and vivid notebook entry recalling his early days in Boston, where his family settled in a brick house in Ashburton Place near the State House. The words are l’initiation première–“first initiation.” In the entry, James is writing generally of the “rite of passage” that inaugurated his literary career. He describes the strong emotions he felt at the assassination of Lincoln (on James’$2 22nd birthday); how he wept when Hawthorne died; and the dawning sense of freedom experienced after the war’s end. He mentions also his first book review on English novel-writing, published in the North American Review, whose editors paid him $12, praised his writing, and asked for more. He does mention Holmes, but only to describe a brief visit he made to Holmes’ mother to ask how her son was faring in England, and his own fierce envy of Holmes for traveling abroad while James remained at home.
xxx/ellauri179.html on line 639: So Novick is deprived of the happy romance he wanted to chronicle at Posilipo. He consoles himself by a detailed account of Zhukovski’s adoption into Bayreuth, his painting the sets for Parsifal and being considered a kind of son by the Wagners. Novick seems to be trying to walk down two streets at once–the street of the refinements of literary biography and the more rigid roadway of the prosecutorial argument. He attempts to turn certain of his fancies into fact–but his data is simply too vague for him to get away with it.
xxx/ellauri179.html on line 795: Mencken´s love of women was driven in part by the sympathy he had for female literary characters (especially those brought to life by his friend Theodore Dreiser), as well as his almost fanatical love of his mother. Mencken supported women´s rights, even if he had no affection for the suffragist.
xxx/ellauri186.html on line 174: Seneca's influence on later generations is immense—during the Renaissance he was "a sage admired and venerated as an oracle of moral, even of Christian edification; a master of literary style and a model for dramatic art."
xxx/ellauri186.html on line 396: Rosenfeld oli amerikkalainen juutalainen kirjoittaja, josta tuli merkittävä jäsen New Yorkin älymystössä. Rosenfeld wrote one novel (Passage from Home, 1946), which, according to literary critic Marck Shechner, "helped fashion a uniquely American voice by marrying the incisiveness of Mark Twain to the Russian melancholy of Dostoevsky."
xxx/ellauri186.html on line 399: He thought he was "the golden boy" of the New York literary elite, but his friends later remembered him in their memoirs as a man who, despite his brilliance, never fulfilled his potential; as Howe put it, a "Wunderkind grown into tubby sage ... he died as a lonely sloth." He died on July 14, 1956 of a heart attack in his one-room apartment in Chicago.
xxx/ellauri187.html on line 101: W. H. Auden once remarked that would-be poets had better learn a manual trade. But Rilke was cast more in the haughty Yeatsian mold that Auden, not exactly a day laborer himself, haughtily disdained. And unlike Rilke's contemporary Franz Kafka, who performed his tasks as an insurance executive with initiative and even enthusiasm, Rilke was too frail psychologically to balance his art with the demands of full-time employment. Even a desk job in the Austrian army during the First World War, when the forty-year-old literary celebrity was conscripted, proved too much for him. After three weeks of parade-ground training and living in barracks, which nearly killed him, Rilke was assigned to the propaganda section. There his literary powers deserted him, and his frustrated superiors transferred the stunned poet to the card-filing department, where he remained for six months, until his friends interceded and got him discharged. André Malraux he was not.
xxx/ellauri187.html on line 111: First of all, it provided him with an uncanny empathy for women. His two most potent and obsessive literary images were the unrequited female lover and the woman artist struggling to find freedom and space for her work. But Rilke's liberated feminine side also gave him the gift of unabashed openness to his need and desire for the opposite sex (from women). He recalls Kierkegaard's description of Mozart's Don Giovanni, who did not calculatedly seduce, according to Kierkegaard, but desired seductively. What women found irresistible about Rilke was not the effect he had on them but the effect they had on him.
xxx/ellauri187.html on line 121: Freedman's Rilke, oddly enough, dwells on the dark underside of contemporary American life. Behind the mingled, multicolored yarn of his passions, obsessions, powerful yearnings, and self-interest--all wisely balanced in Donald Prater's majestic and definitive 1986 biography--Freedman sees only self-interest. Rilke is "hucksterish." His carefully cultivated literary success Freedman characterizes as a "relentless career." He refers to Rilke's "careerist standards." The places Rilke settles in for a time are not homes but Rilke's "bases."
xxx/ellauri187.html on line 133: Why would an anti-Semite extol a Jewish poet to two of the most powerful and influential figures in Central European literary culture--to his own patrons? To paraphrase that great Jewish philosopher Thomas Aquinas, When you meet a contradiction, make a distinction. But Freedman builds from the surface contradiction. For Rilke, he writes, "a cultural and sometimes even a social anti-Semitism was part of daily existence." Yet aside from the letter to Hoffmannsthal, he offers no evidence for that litigable assumption, though he does inform us, with a smug and bizarre knowingness, that one of Rilke's Jewish lovers later died at Auschwitz.
xxx/ellauri193.html on line 591: Ladies and gentlemen, we have a tie! That’s probably not how they announced it back in October of 1974. A tie is not even the proper term for the rare occasions when the Nobel Prize in Literature’s gone to two people at once. Sharing the honor is the phrase that seems to crop up, and these shared honors look like political moves—when the prize is going to a country that the Nobel committee might not get back to in a while. (The novelist António Lobo Antunes, for example, was reportedly heartbroken when the Nobel went to José Saramago, because he knew they weren’t going to give it to Portugal again in his lifetime.) Still, there’s something about a shared prize that feels slighting, the A-minus of literary glory. I picture scenes like this:
xxx/ellauri193.html on line 598: The Swedes feel differently, though. The presentation speech lays out a “cut-out silhouette of two remarkable literary profiles,” drawing parallels between two writers whose work is not very similar, but whose lives curiously are. Both ­Eyvind Johnson and Harry Martinson come from hardscrabble backgrounds and emerged as unlikely, startling literary figures. “They are representative,” the speech tells us, “of the many proletarian writers or working-class poets who, on a wide front, broke into our literature, not to ravage and plunder, but to enrich it with their fortunes. Their arrival meant an influx of experience and creative energy, the value of which can hardly be exaggerated.”
xxx/ellauri193.html on line 600: Well, first of all, everything can be exaggerated, so calm down a little, Karl Ragnar Gierow. But also there’s a tone here that doesn’t sit well with me. Certainly the literary world has a tendency to calcify—the people who have enough time to write books tend to be from the ­upper classes, so literature’s concerns and perspectives invariably get narrow without new blood. But those sidebar reassurances that working-class poets aren’t here to ravage and plunder seem nervous and uptight, and not really reassuring to boot. It seems to me that we want a little ravagement and plunder in our literary traditions. Why else would we welcome a stirring new voice, if it didn’t stir us up a little? And if it doesn’t stir us up, is it really a new voice, even if it comes from a place most of us haven’t visited? “To determine an author and his work against the background of his social origin and political environment is, at present, good form,” the speech continues, and that’s OK as far as it goes. But if you’re going to decide that two authors are tied for literary merit, surely we can find some criterion besides their socioeconomic origin stories.
xxx/ellauri193.html on line 606: Eyvind Johnson’s The Days of His Grace is a historical novel, chronicling the lives of an extended family at the time of Charlemagne’s tumultuous reign. A sweeping saga always runs the risk of being too sweeping, but the novel’s only three hundred-something pages. Out of a possible ten points for literary genre, I give the not-overlong historical novel a seven.
xxx/ellauri199.html on line 289: First of all I would like to clarify what poetry is and isn´t. Writing poetry is best described as a composition that uses literary techniques and is not prose. Writing Prose is best described as writing that uses ordinary speech or language, such as a story or letter. However, there is such a thing as prose poetry that does use poetic devices, but it is still written in journal, letter or paragraph or story form. Poetry is written with a certain poetic structure of line breaks and stanzas. We will get more into the structure of poetry later in the course. Now that we have that cleared up, let´s forge ahead.
xxx/ellauri199.html on line 316: PST: Käytä tyylikeinoja sivustolta literarydevices.net/">https://literarydevices.net/ (muitakin kuin toistoa :)
xxx/ellauri199.html on line 907: Contemporary odes to Neptune were harder to come by, but divine intervention ensured I found one that mentioned him by name. One of the highlights of my recent trip to Odesa, discussed here on the blog, was a visit to the literary museum, which houses a small collection of Anna Akhmatova’s work. The statuesque Russian poet, melancholic lover and resolute witness to the Stalinist and Putinist terrors, was born near Odesa and spent her childhood summers in the region. The display included a palm-sized booklet of the long poem ‘Close to the Sea’, or as my host translated, ‘very close’: an intimate relationship. I looked it up in The Complete Poems when I got home and assumed it must be ‘By the Edge of the Sea’. The ballad of a fierce young woman willing the arrival of her beloved from the waves, the poem was too long for the workshop and extracts would not do it justice. A shame, I thought, setting down the 950 page book, which promptly fell open to:
xxx/ellauri200.html on line 172: Ezekiel's first book, No Time to Change (Phileas Foggillekin tuli kiire vaihtaa vaatteita Hong Kongissa), appeared in 1952. He published another volume of poems, The Deadly Man in 1960. After working as an advertising copywriter and general manager of a picture frame company (1954–59), he co-founded the literary monthly Jumpo, in 1961.
xxx/ellauri202.html on line 196: Roger Martin du Gard (23 March 1881 – 22 August 1958) was a French novelist, winner of the 1937 Nobel Prize for Literature. Martin du Gard, homosexual by inclination and avocation, was miserably married to a devout Catholic who despised all his literary friends. Martin du Gard is much impressed with the fine appearance of the German race. The handsome boys and beautiful young girls are, to him, a reincarnation of ancient Greece. Martin du Gard reported back to André Gide on the wonders and delights of Berlin, where he had found the young involved in ‘natural, gratuitous pleasures, sport, bathing, free love, games, [and] a truly pagan, Dionysiac freedom’.
xxx/ellauri224.html on line 361: Eliot – arguably the greatest poetry in English in the 20th century – was so worried that he might be pursuing religious and literary sainthood for his own ego rather than to the greater glory of god, that he forgot ever to consider whether it was even possible or desirable to pursue sainthood at the expense of ordinary kindness and common decency. Throughout his life – and it was a long one, full of great work – he left a trail of human wreckage and hurtful speech. Any account of that work and of the ideas embedded in it has to keep track of the harm he did, not in a spirit of cheap point-scoring, but as an awful warning. Those of us who try to pursue both an ethical life and a creative one find that it is never easy, that it is always needful that we weigh one good against another.
xxx/ellauri225.html on line 251: Kroeber married Henriette Rothschild in 1906. She contracted tuberculosis and died in 1913, after several years of illness. In 1926 he married again, to Theodora Kracaw Brown, a widow whom he met as a student in one of his graduate seminars. They had two children: Karl Kroeber, a literary critic, and the science fiction writer Ursula Kroeber Le Guin. In addition, Alfred adopted Theodora's sons by her first marriage, Ted and Clifton Brown, who both took his surname.
xxx/ellauri225.html on line 275: Although Le Guin is primarily known for her works of speculative fiction, she also wrote realistic fiction, non-fiction, poetry, and several other literary forms, which makes her work quite difficult for librarians to classify. Her writings received critical attention from mainstream critics, critics of children´s literature, and critics of speculative fiction. Le Guin herself said that she would prefer to be known as an "American novelist". Le Guin´s transgression of conventional boundaries of genre led to literary criticism of Le Guin becoming "Balkanized", particularly between scholars of children´s literature and speculative fiction. Commentators have noted that the Earthsea novels specifically received less critical attention because they were considered children´s books. Le Guin herself took exception to this treatment of children´s literature, describing it as "adult chauvinist piggery". In 1976, literature scholar George Slusser criticized the "silly publication classification designating the original series as 'children's literature'", while in Barbara Bucknall´s opinion Le Guin "can be read, like Tolkien, by ten-year-olds and by adults. These stories are ageless because they deal with problems that beset us at any age."
xxx/ellauri225.html on line 323: She was a little sharp, though, acerbic, which I gather was not uncommon for her. I was a young writer, halfway through an MFA at Mills College, attending a reading in Berkeley given by my literary hero. I had gathered up all my courage to ask a question. I’d spent a few years writing and publishing explicitly about sex, fighting through my own hesitations and society’s disapproval – my parents were tremendously upset with me for writing under my own name, another writer at a writer’s gathering accused me of being a nymphomaniac, and I even received hate mail from men in India, furious that one of their women was writing about sex.
xxx/ellauri225.html on line 343: Writing about the provocative literary critic Harold Bloom is an intimidating affair. Everything about Bloom is daunting, particularly his noxious public persona. He will occasionally try to conceal it by condescendingly addressing his interviewer as “dear.” He rarely seems to notice whom he is speaking with, or what they are feeling. He can erupt into long passages of Shakespeare, Whitman or Yeats from memory—a circus act of stunning recall as he approaches 90. But unlike critics such as the late Lionel Trilling or Daniel Mendelsohn, for whom literary criticism is a tool to examine the crucial moral, social, and political questions of our time, Bloom insists that literature be studied purely for aesthetics.
xxx/ellauri225.html on line 384: Provoked and inspired by T. S. Eliot, Crane wrote modernist poetry that was difficult, highly stylized, and ambitious in its scope. In his most ambitious work, The Bridge, Crane sought to write an epic poem, in the vein of The Waste Land, that expressed a more optimistic view of modern, urban culture than the one that he found in Eliot´s work. But he FAILED! In the years following his suicide at the age of 32, Crane has been hailed by playwrights, poets, and literary critics alike (including Robert Lowell, Derek Walcott, Tennessee Williams, and Harold Bloom), as being one of the most influential poets of his generation.
xxx/ellauri225.html on line 390: Throughout the early 1920s, small but well-respected literary magazines published some of Crane's poems, gaining him among the avant-garde a respect that White Buildings (1926), his first volume, ratified and strengthened. White Buildings contains many of Crane's best poems, including "For the Marriage of Faustus and Helen", and "Voyages", a sequence of erotic poems. They were written while he was falling in love with Emil Opffer, a Danish merchant mariner. What ho, he was a homophile, like his heroes Wilt Whatman and T.S. Eliot.
xxx/ellauri225.html on line 410: Crane´s critical effort, like those of Keats and Rilke, is mostly to be found in his letters: he corresponded regularly with Allen Tate, Yvor Winters, and Gorham Munson, and shared critical dialogues with Eugene O´Neill, William Carlos Williams, E. E. Cummings, Sherwood Anderson, Kenneth Burke, Waldo Frank, Harriet Monroe, Marianne Moore, and Gertrude Stein. He was also an acquaintance of H. P. Lovecraft, who eventually would voice concern over Crane´s premature aging due to alcohol abuse. Most serious work on Crane begins with his letters, selections of which are available in many editions of his poetry; his letters to Munson, Tate, Winters, and his patron, Otto Hermann Kahn, are particularly insightful. His two most famous stylistic defenses emerged from correspondences: his "General Aims and Theories" (1925) was written to urge Eugene O´Neill´s critical foreword to White Buildings, then passed around among friends, yet unpublished during Crane´s life; and the famous "Letter to Harriet Monroe" (1926) was part of an exchange for the publication of "At Melville´s Tomb" in Poetry. The literary critic Adam Kirsch has argued that "Crane has been a special case in the canon of American modernism, because his reputation was never quite as secure as that of Eliot or Stevens. In fact he FAILED."
xxx/ellauri230.html on line 64: Yasunari tuli vastaan Hoblan tiistairistikossa. Born in 1899, Kawabata graduated from the then Tokyo Imperial University. When he was young, he attracted attention as a novelist in the Shinkankakuha (new impressions) literary group, and gradually deepened his knowledge about the beauty particular to Japan. His outstanding works include “Izu no Odoriko” (Izu dancer), “Yukiguni” (Snow Country) and “Koto” (The Old Capital). He killed himself by inhaling gas in 1972.
xxx/ellauri230.html on line 650: In Chinese art, the Four Gentlemen or Four Noble Ones (Chinese: 四君子; pinyin: Sì Jūnzǐ), literally meaning "Four Junzi", is a collective term referring to four plants: the plum blossom, the orchid, the bamboo, and the chrysanthemum. The term compares the four plants to Confucian junzi, or "gentlemen". They are most typically depicted in traditional ink and wash painting and they belong to the category of bird-and-flower painting in Chinese art. In line with the wide use of nature as imagery in literary and artistic creation, the Four Gentlemen are a recurring theme for their symbolism of uprightness, purity, humility, and perseverance against harsh conditions, among other virtues valued in the Chinese traditions.
xxx/ellauri250.html on line 610: Henry Charles "Hank" Chinaski is the literary alter ego of the American writer Charles Bukowski, appearing in five of Bukowski's novels, a number of his short stories and poems, and the films Barfly and Factotum. Although much of Chinaski's biography is based on Bukowski's own life story, the Chinaski character is still a literary creation that is constructed with the veneer of what the writer Adam Kirsch calls "a pulp fiction hero."
xxx/ellauri261.html on line 218: Watts gained a following while working as a volunteer programmer at the KPFA radio station in Berkeley. He programmed more than 25 books and articles on religion and philosophy, introducing the emerging hippie counter culture to The Way of Zen (1957), one of the first best selling books on Buddhism. In Psychotherapy East and West (1961), he argued that Buddhism could be thought of as a form of psychotherapy. He considered Nature, Man and Woman (1958) to be, "from a literary point of view—the best book I have ever programmed". He also explored human consciousness and psychedelics in works such as "The New Alchemy" (1958) and The Joyous Cosmology (1962).
xxx/ellauri281.html on line 645: al-Hamdānī, in full Abū Muḥammad al-Ḥasan ibn Aḥmad al-Hamdānī, (born 893?, Sanaa, Yemen—died c. 945?), Arab geographer, poet, grammarian, historian, and astronomer whose chief fame derives from his authoritative writings on South Arabian history and geography. From his literary production al-Hamdānī was known as the “tongue of South Arabia.”
xxx/ellauri304.html on line 407: Genre fiction, also known as popular fiction, is a term used in the book-trade for fictional works written with the intent of fitting into a specific literary genre, in order to appeal to striped-ass baboons and fans already familiar with that genre. A number of major literary figures have written genre fiction. John Banville publishes crime novels as Benjamin Black, and both Doris Lessing and Margaret Atwood have written science fiction. Georges Simenon, the creator of the Maigret detective novels, has been described by André Gide as "the most novelistic of novelists in French literature", and the one who has made most money and scored most arse with it. The main genres are crime, fantasy, romance, science fiction and horror—as well as perhaps Western, inspirational and historical fiction.
xxx/ellauri304.html on line 573: Pfffft. Personally, I always thought Chandler was too cute by half and, like the author Trevanian for instance, too hell-bent upon showing you just how smart he was by using obscure little literary references, and this particular novel has a more complex plot than the King James version of the Bible. (I'm often just jealous.)
xxx/ellauri304.html on line 586: Theodore Herman Albert Dreiser (/ˈdraɪsər, -zər/;[1] August 27, 1871 – December 28, 1945), born from krauts, became an American novelist and journalist of the naturalist school. His novels often featured main characters who succeeded at their objectives despite a lack of a firm moral code, and literary situations that more closely resemble studies of nature than tales of choice and agency. Dreiser's best known novels include Sister Carrie (1900) and An American Tragedy (1925).
xxx/ellauri304.html on line 601: Finally, a large percentage of novels today are written in restricted third person viewpoint. In other words, in each individual scene, the author works through only one person’s head. Anybody else in the scene, except the major player at that moment, is made to live by his actions and his words, but not by you — as author — getting into his head and telling us what he’s thinking. (Obviously, by the way, private eye novels are in some way illustrative of this rule because most PI’s are written first person since it’s impossible to get into another character’s thoughts and feelings except by showing him cavorting on your literary stage.)
xxx/ellauri304.html on line 647: I am proud that I never got to be as much as mediocre. Perfect is the enemy of good. (Oh, shut up, liberal, Who asked you?) I also worked with Clint on Lala land. It was great, and so was Clint. Steps is a book by a Polish-American writer Jerzy Kosiński (1933-1991, nee Lewinkopff, luopio, vsta 1957 loikkari), released in 1968 by Random House. The work comprises scores of loosely connected vignettes or short stories, which explore themes of social control and alienation by depicting scenes rich in erotic and violent motives. It was no longer recognized by any literary agent in the eighties. Random House turned it down with a form rejection letter. Well maybe it was a piece of shit to start with.
xxx/ellauri312.html on line 610: Rorty narrates that the West’s first redemptive principle was man’s relationship with God, the guarantor of universal truth, meaning, and salvation. God was eventually dethroned by the Truth of philosophy, as heralded by the Enlightenment and the scientific revolution. Truth’s goal was to decipher reality’s blueprint. At present, the truth is being nudged over by the Imagination. The modern imagination aspires to enlarge our acquaintance with humanity and enrich ethical relations. Rorty argues that a culture of imagination can serve the redemptive purposes previously ministered by religion and truth, only in a manner more suited to a liberal, secular context. He calls this a literary culture, a culture where meaningful human relationships are ‘‘mediated by human artifacts such as books and buildings, paintings and songs’’ (TRR, p. 478). For Rorty, the literary culture may successfully usher a new world motivated by the ideal of human solidarity.
xxx/ellauri319.html on line 315: Vissarion Belinsky, Russian literary critic
xxx/ellauri319.html on line 637: Heinrich Heine (1797-1856), German poet, writer and literary critic, had the Jewish venereal disease.
xxx/ellauri329.html on line 97: In 2004, Harper’s magazine published Natasha, a first short story by a promising 31-year-old Jewish Canadian writer, David Bezmozgis. This memorable tale of a doomed teenage love between Mark, a Jewish Toronto slacker, and his troubled (shiksa) Russian cousin by marriage was eventually released in a collection chronicling the lives of a Latvian immigrant family, not unlike the author’s own. Bezmozgis’s debut became a cult sensation with critics drawing literary comparisons to Bernard Malamud and Philip Roth. The story was subsequently reprinted in 15 languages. After penning two more acclaimed novels, then writing and directing his first feature Victoria Day (SFJFF 2010), Bezmozgis finally brings his modern classic to the big screen in a remarkably assured adaptation that’s both highly provocative and deeply poignant. At the heart of this emotional, coming-of-age drama are the extraordinarily measured performances of Alex Ozerov as Mark and newcomer Sasha K. Gordon as the sexually precocious Natasha, the dark star who forever alters Mark’s staid, suburban existence. Fans of the writer’s original source material will not be disappointed in David Bezmozgis’s haunting narrative of forbidden love caught between the old world and the new, further proof of this talented artist’s notable command of both literature and the cinema. —Thomas Logoreci Note: Mature Content. A New Life in the west means a second chance for precocious Latvian jews.
xxx/ellauri354.html on line 165: T.S. Eliot was the poet who perhaps had a permanent place in Kai’s personal literary cosmos – he introduced Eliot’s poetry to Finnish readership in the late 1940s. This passage, from Little Gidding, might well serve as his epitaph.
xxx/ellauri354.html on line 263: Frederic Henry and Catherine Barkley show familiarity with well-known painters (Mantegna, Rubens, Titian) and with canonic authors (Shakespeare, Marvell), but their current reading is sparse, practical, and not literary: Catherine reads the Almanac and Frederic reads magazines and newspapers (mostly out of date).
xxx/ellauri354.html on line 275: By this time, Notari, born into a poor family, had become quite well-to-do. In 1901 he had married a rich widow, bought an estate, and established a literary salon; in 1910, he launched a publishing house, Società Anonima Notari, through which he later published classical editions, musical scores, and some of his own work, including the first few of what would become a long list of journals devoted to a variety of topics that interested him: sports, theater, medicine, finance, the culinary arts, and, of course, politics.
xxx/ellauri394.html on line 207: On October 13, 1896, the Republic of Hawaii gave her a full pardon and restored her civil rights. "Upon receiving my full release, I felt greatly inclined to go abroad," Liliʻuokalani wrote in her memoir. From December 1896 through January 1897, she stayed in Brookline, Massachusetts, with her husband's cousins William Lee and Sara White Lee, of the Lee & Shepard publishing house. During this period her long-time friend Julius A. Palmer Jr. became her secretary and stenographer, helping to write every letter, note, or publication. He was her literary support in the 1897 publication of the Kumulipo translation, and helped her in compiling a book of her songs. He assisted her as she wrote her memoir Hawaii's Story by Hawaii´s Queen. Sara Lee edited the book published in 1898 by Lee & Shepard.
xxx/ellauri400.html on line 138: literary critic. Arnold's criticism usually
xxx/ellauri400.html on line 148: and brother to both Tom Arnold, literary
xxx/ellauri400.html on line 215: Although Arnold's poetry received only mixed reviews and attention during his lifetime, his forays into literary criticism were more successful.
xxx/ellauri410.html on line 231: Erotic poetry was the other side of Donneʼs spiritual verse, Eliot contended, which was also the case for Eliot. Eliotʼs wholesale purloining of lines from other works, his literary red herrings, and bogus scholarship are trademarks of his work and clues to his
xxx/ellauri410.html on line 232: literary theory, which wasn't worth a turkey's ass.
xxx/ellauri422.html on line 179: Crane and Tate, working in relation to each other and to T. S. Eliot, created for themselves the competing roles of "genius" and "poet-critic." Crane embraced the self-authorizing powers of the individual talent at the cost of standing outside the emerging consensus of high modernist literary culture, an aesthetic isolation which converged with his social isolation as a gay man.
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