ellauri039.html on line 347: Hatsipompponen’s installation/handmade paper works, such as houses of beings and Lucid Absurdity, have dealt with the correspondence between visual and textual languages, which is established upon the absurd conflicts among urges, necessities, and mortality. She draws her philosophy from Camus, Heidegger, Haiku poets, modern Japanese novelists, and ancient Chinese thinkers.
ellauri052.html on line 120: His favourite novelists, who recurred in his courses, were Dostoyevsky, Stendhal, Balzac, Flaubert, Dickens, Conrad, Dreiser and Fitzgerald. He also admired the satires of Wyndham Lewis.
ellauri052.html on line 861: His friend and protege Philip Roth has said of him, "The backbone of 20th-century American literature has been provided by two novelists—William Faulkner and Saul Bellow. Together they are the Melville, Hawthorne, and Twain of the 20th century."

LOL, runkku-Roth Melvillenä tietysti.

ellauri052.html on line 868: His favourite novelists, who recurred in his courses, were Dostoyevsky, Stendhal, Balzac, Flaubert, Dickens, Conrad, Dreiser and Fitzgerald. He also admired the satires of Wyndham Lewis.
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?
ellauri106.html on line 177: Roth was far more prolific than either of the novelists he was frequently lumped with—29 full length novels and a dazzling debut novella over nearly 50 years. His output was also more diverse in style and topic than either of the other while reaping critical praise, armloads of awards, and commercial success. Yet at the core of his varied output were common threads—a Jewish identity with which he was not always comfortable but could not deny, a sense of being profoundly American— “if I am not American what am I”—a, a sex drive that was often creepily compulsive, and the world observed by fictional doppelgangers for the author, or sometimes the author himself as a fictional character.
ellauri107.html on line 104: An American Dream is a 1965 novel by American author Norman Mailer. It was published by Dial Press. Mailer wrote it in serialized form for Esquire, consciously attempting to resurrect the methodology used by Charles Dickens and other earlier novelists, with Mailer writing each chapter against monthly deadlines. The book is written in a poetic style heavy with metaphor that creates unique and hypnotising narrative and dialogue. The novel's action takes place over 32 hours in the life of its protagonist Stephen Rojack. Rojack is a decorated war-hero, former congressman, talk-show host, and university professor. He is depicted as the metaphorical embodiment of the American Dream.
ellauri111.html on line 36: novelists-that-address-these-kinds">Dostoevsky is what russophiles think Russian writers should ne like.
ellauri192.html on line 269: Taking into sympathetic account the widest margin of human error, is it possible to take seriously an institution and procedure that passes over the majority of the greatest novelists and renewers of prose in the modern age? James Joyce, Marcel Proust, Franz Kafka (whose presence towers over our sensual literature and of the meaning of a bug, quite a feat for a little man who one should not expect to tower over anything much), Thomas Hardy, Joseph Conrad, Henry James, Andre Malraux, Hermann Broch, Robert Musil, D. H. Lawrence, either escaped the notice of or were, on nomination, rejected by the Nobel committee. Can one defend a jury which prefers the art of Pearl Buck (1938) to that of, say, Virginia Woolf? Paul Claudel, a picee of shit whose dramas we can set fairly beside those of Aeschylus and of Shakespeare just to scare people, never received the accolade. Paul Heyse was chosen, not Bertolt Brecht. Galsworthy is a Nobel, not Carlo Emilio Gadda, one of the most original and inventive writers of fiction in this century. Who the fuck is he? Composer of In-a-Gadda-da-Vida? No that was Iron Butterfly, and a good piece it was indeed.
ellauri262.html on line 392: The academic critic Q. D. Leavis criticises Sayers in more specific terms in a review of Gaudy Night and Busman's Honeymoon, published in the critical journal Scrutiny, saying her fiction is "popular and romantic while pretending to realism." Leavis argues that Sayers presents academic life as "sound and sincere because it is scholarly," a place of "invulnerable standards of taste charging the charmed atmosphere".[46] But, Leavis says, this is unrealistic: "If such a world ever existed, and I should be surprised to hear as much, it does no longer, and to give substance to a lie or to perpetuate a dead myth is to do no one any service really." Leavis comments that "only best-seller novelists could have such illusions about human nature."
xxx/ellauri075.html on line 473: In 1988, Wallace criticized Ellis’s first published essay, calling Ellis and his category of novelists “Catatonics” for their naïve pretension.
xxx/ellauri103.html on line 235: My most recent novel The Mandibles was taken to task by one reviewer for addressing an America that is “straight and white”. It happens that this is a multigenerational family saga – about a white family. I wasn’t instinctively inclined to insert a transvestite or bisexual, with issues that might distract from my central subject matter of apocalyptic economics. Yet the implication of this criticism is that we novelists need to plug in representatives of a variety of groups in our cast of characters, as if filling out the entering class of freshmen at a university with strict diversity requirements. Besides, America IS straight and white, at least the America I know about. I haven't had time to appropriate any Nigerian girls yet, nor Afro Americans even.
xxx/ellauri103.html on line 297: We fiction writers have to preserve the right to wear many hats – including sombreros. I like sombreros, they make me look tall. I also like to wear cowboy boots with high heels. Unfortunately, no amount of quoting famous novelists won't make me sound smart. My ass is by far the smartest part of me.
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 513: As novelists, we create a character not by what we tell but by what we show. Show not tell, you know (fucking immigrants shut up). What does that character say? What does he do? What do others say about him? What do they think of him? What would he say if he was slapping a kid at the local Walmart’s? That’s characterization and it makes your fictional people come alive.
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