books tagged “criticism”

A collection of essays on "Twin Peaks" and the postmodern mediascape. [via]

My father's family name being Pirrip, and my Christian name Philip, my infant tongue could make of both names nothing longer or more explicit than Pip. So, I called myself Pip, and came to be called Pip. I give Pirrip as my father's family name, on the authority of his tombstone and my sister. . . . but this is my tale, not my father's. It is the tale of how I lived my life, and thrived -- how I lost my all, and found something again, praiise God, a thing I love. Listen and you'dll hear . . . [via]

A scholar of fairy tales, Maria Tatar, provides a fascinating introduction about the history and meaning of the stories assembled by the Brothers Grimm. She writes, for example, "We now know that the stories collected in the nineteenth-century folktale anthologies ...had their origins in an irreverent peasant culture that arose in conscious opposition to the feudal state's ruling class. By overdoing it in the realm of storytelling, these narrators were able to alleviate--if only temporarily--some of the tedium that marked the daily life of their audience ... [These tales] can be seen as the ancestors of our urban legends about vanishing hitchhikers and cats accidentally caught in the dryer or as the preliterate equivalents of tabloid tales describing headless bodies found in topless bars. But in many ways, it is the horror film to which the matter and manner of these folktales has most conspicuously migrated. Like horror films, folktales trade in the sensational--breaking taboos and enacting the forbidden with uninhibited energy."

The text of the 19 tales in this collection is based on the 1822 edition of Kinder- und Hausmärchen (Nursery and Household Tales) by Jacob and Wilhelm Grimm--before the tales were expurgated and rewritten to make them more "suitable" for children. It's bound in a handsome faux-antique format, and lavishly illustrated by Tracy Arah Dockray (15 full-page color paintings, and a black-and-white drawing on nearly every page). Most of the tales will be unfamiliar to American and English readers, who may be surprised by the graphic descriptions of incest, murder, mutilation, and cannibalism. Chronicle Books has done us a service in helping restore to our adult culture these vivid, evocative folktales. --Fiona Webster [via]

What if we didn't always historicize when we read Victorian fiction? Lost Causes shows that Victorian writers frequently appear to have a more supple and interesting understanding of the relationship between history, causality, and narrative than the one typically offered by readers who are burdened by the new historicism. As a return to these writers emphasizes, the press of modern historicism deforms Victorian novels, encouraging us to read deviations from strict historical accuracy as ideological bad faith. By contrast, Jason B. Jones argues through readings of works ranging from The French Revolution to Middlemarch that literature's engagement with history has to be read otherwise. Perhaps perversely, Lost Causes suggests simultaneously that psychoanalysis speaks pressingly to the vexed relationship between history and narrative, and that the theory is neither a- nor anti-historical. Through his readings of Victorian fiction addressing the recent past, Jones finds in psychoanalysis not a set of truths, but rather a method for rhetorical reading, ultimately revealing how its troubled account of psychic causality can help us follow literary language's representation of the real. Victorian narratives of the recent past and psychoanalytic interpretation share a fascination with effects that persist despite baffling, inexplicable, or absent causes. In chapters focusing on Thomas Carlyle, Charles Dickens, Charlotte Brontë, and George Eliot, Lost Causes demonstrates that history can carry an ontological, as well as an epistemological, charge--one that suggests a condition of being in the world as well as a way of knowing the world as it really is. From this point of view, Victorian fiction that addresses the recent past is not a failed realism, as it is so frequently claimed, but rather an exploration of possibility in history. [via]

The artist Barbara Kruger was an important thinker on postmodern and feminist issues. This survey includes her most famous pieces and discusses the ways in which her art challenges social values and the nature of art-making, and uses images appropriated from various sources to capture attention. [via]

Here are the books that help teach Shakespeare plays without the teacher constantly needing to explain and define Elizabethan terms, slang, and other ways of expression that are different from our own. Each play is presented with Shakespeare's original lines on each left-hand page, and a modern, easy-to-understand "translation" on the facing right-hand page. All dramas are complete, with every original Shakespearian line, and a full-length modern rendition of the text. [via]

Avec Moby Dick, Melville a donné naissance à un livre-culte et inscrit dans la mémoire des hommes un nouveau mythe : celui de la baleine blanche. Fort de son expérience de marin, qui a nourri ses romans précédents et lui a assuré le succès, l'écrivain américain, alors en pleine maturité, raconte la folle quête du capitaine Achab et sa dernière rencontre avec le grand cachalot. Véritable encyclopédie de la mer, nouvelle Bible aux accents prophétiques, parabole chargée de thèmes universels, Moby Dick n'en reste pas moins construit avec une savante maîtrise, maintenant un suspense lent, qui s'accélère peu à peu jusqu'à l'apocalypse finale. L'écriture de Melville, infiniment libre et audacieuse, tour à tour balancée, puis hachée au rythme des houles, des vents et des passions humaines, est d'une richesse exceptionnelle. Il faut remonter à Shakespeare pour trouver l'exemple d'une langue aussi inventive, d'une poésie aussi grandiose. --Scarbo [via]

The work offers a wide-ranging critique of both contemporary capitalism and the Communist society of the Soviet Union, documenting the parallel rise of new forms of social repression in both these societies, as well as the decline of revolutionary potential in the West. Marcuse argues that "advanced industrial society" created false needs, which integrated individuals into the existing system of production and consumption via mass media, advertising, industrial management, and contemporary modes of thought.
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"When I have a little money, I buy books. And if any is left, I buy food and clothing."
--Desiderius Erasmus

Those who share Erasmus's love of those curious bundles of paper bound together between hard or soft covers know exactly how he felt. These are the people who can spend hours browsing through a bookstore, completely oblivious not only to the passage of time but to everything else around them, the people for whom buying books is a necessity, not a luxury. A Passion for Books is a celebration of that love, a collection of sixty classic and contemporary essays, stories, lists, poems, quotations, and cartoons on the joys of reading, appreciating, and collecting books.

This enriching collection leads off with science-fiction great Ray Bradbury's Foreword, in which he remembers his penniless days pecking out Fahrenheit 451 on a rented typewriter, conjuring up a society so frightened of art that it burns its books. This struggle--financial and creative--led to his lifelong love of all books, which he hopes will cosset him in his grave, "Shakespeare as a pillow, Pope at one elbow, Yeats at the other, and Shaw to warm my toes. Good company for far-travelling."

Booklovers will also find here a selection of writings by a myriad of fellow sufferers from bibliomania. Among these are such contemporary authors as Philip Roth, John Updike, Umberto Eco, Robertson Davies, Nicholas Basbanes, and Anna Quindlen; earlier twentieth-century authors Chris-topher Morley, A. Edward Newton, Holbrook Jackson, A.S.W. Rosenbach, William Dana Orcutt, Robert Benchley, and William Targ; and classic authors such as Michel de Montaigne, Gustave Flaubert, Petrarch, and Anatole France.

Here also are entertaining and humorous lists such as the "Ten Best-Selling Books Rejected by Publishers Twenty Times or More," the great books included in Clifton Fadiman and John Major's New Lifetime Reading Plan, Jonathan Yardley's "Ten Books That Shaped the American Character," "Ten Memorable Books That Never Existed," "Norman Mailer's Ten Favorite American Novels," and Anna Quindlen's "Ten Big Thick Wonderful Books That Could Take You a Whole Summer to Read (but Aren't Beach Books)."

Rounding out the anthology are selections on bookstores, book clubs, and book care, plus book cartoons, and a specially prepared "Bibliobibliography" of books about books.

Whether you consider yourself a bibliomaniac or just someone who likes to read, A Passion for Books will provide you with a lifetime's worth of entertaining, informative, and pleasurable reading on your favorite subject--the love of books.

A Sampling of the Literary Treasures in A Passion for Books

  Umberto Eco's "How to Justify a Private Library," dealing with the question everyone with a sizable library is inevitably asked: "Have you read all these books?"

  Anatole Broyard's "Lending Books," in which he notes, "I feel about lending a book the way most fathers feel about their daughters living with a man out of wedlock."

  Gustave Flaubert's Bibliomania, the classic tale of a book collector so obsessed with owning a book that he is willing to kill to possess it.

   A selection from Nicholas Basbanes's A Gentle Madness, on the innovative arrangements Samuel Pepys made to guarantee that his library would survive "intact" after his demise.

  Robert Benchley's "Why Does Nobody Collect Me"--in which he wonders why first editions of books by his friend Ernest Hemingway are valuable while his are not, deadpanning "I am older than Hemingway and have written more books than he has."

  George Hamlin Fitch's extraordinarily touching "Comfort Found in Good Old Books," on the solace he found in books after the death of his son.

  A selection from Anna Quindlen's How Reading Changed My Life, in which she shares her optimistic view on the role of reading and the future of books in the computer age.

  Robertson Davies's "Book Collecting," on the difference between those who collect rare books because they're valuable and those who collect them because they love books, ultimately making it clear which is "the collector who really matters." [via]

A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man's portrait, his subject's frivolous wish that the picture change and he remain the same comes true. Dorian Gray's picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, "as surely as if I had cut her little throat with a knife," Dorian Gray is surprised to find no difference in his vision or surroundings. "The roses are not less lovely for all that. The birds sing just as happily in my garden."

As Hallward tries to make sense of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful "When we are happy we are always good, but when we are good we are not always happy." But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel's drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde's supposed aims, not least "no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style." Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: "All excess, as well as all renunciation, brings its own punishment." [via]

In Poetic Justice, one of our most prominent philosophers explores how the literary imagination is an essential ingredient of just public discourse and a democratic society. [via]

It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. However little known the feelings or views of such a man may be on his first entering a neighborhood, this truth is so well fixed in the minds of the surrounding families, that he is considered the rightful property of some one or other of their daughters. "My dear Mr. Bennet," said his lady to him one day, "have you heard that Netherfield Park is let at last?" Mr. Bennet replied that he had not. "But it is," returned she; "for Mrs. Long has just been here, and she told me all about it." Mr. Bennet made no answer. "Do you not want to know who has taken it?" cried his wife impatiently. _"You_ want to tell me, and I have no objection to hearing it." This was invitation enough. [via]

WSU PRESS 1974 [via]

A collection drawn from Jorge Luis Borges' lectures.

This study is not literary criticism but a fascinating chapter in Miller's own spiritual autobiography.

First published in 1854, Henry David Thoreau's groundbreaking book has influenced generations of readers and continues to inspire and inform anyone with an open mind and a love of nature. With Bill McKibben providing a newly revised Introduction and helpful annotations that place Thoreau firmly in his role as cultural and spiritual seer, this beautiful edition of Walden for the new millennium is more accessible and relevant than ever. [via]

Edward Gorey is an author and an illustrator who has carved a unique niche creating macabre graphic novels that are part satire and part social commentary--comics for adults. Though often relating lurid tales of Victorian crime, Gorey eschews blood and gore in favor of atmosphere and humor. Here the editors have collected a representative sample of his work. Ross, an artist, and Wilkin, an art critic, also provide a useful introductory essay on Gorey's work and an informative interview with him. The book includes a complete bibliography and photographs of Gorey's library and studio. [via]

This revised and updated edition provides children's and young adult librarians, teachers, literature classes, and library school classes with an authoritative history and analysis of the best British and American children's literature through 1994, with a new 2003 postscript including such recent phenomenons as J.K.Rowling and Philip Pullman. Written for Children traces the development of children's literature from its origins through the beginnings of the multimedia revolution. In effortless and entertaining style, Townsend, a world-renowned authority in the field, examines the changing attitudes toward children and their literature and analyzes the various strands that make up this important field. While examining many well-known American classics, Townsend also looks at British works that American audiences may have overlooked. With illustrations and bibliography. [via]