1983, ISBN: 9780394422251

New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back o… Altro …

New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. �. keywords: Literary Criticism Ireland Literature. FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another - and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien - and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention - or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021 ISBN: 0394422252., 0<

1983, ISBN: 9780394422251

New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back o… Altro …

New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. �. FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another—and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien—and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention—or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021 ISBN: 0394422252., 0<

1983, ISBN: 0394422252

edizione con copertina rigida

[EAN: 9780394422251], [PU: Knopf], LITERARY CRITICISM IRELAND LITERATURE, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of … Altro …

[EAN: 9780394422251], [PU: Knopf], LITERARY CRITICISM IRELAND LITERATURE, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. . keywords: Literary Criticism Ireland Literature. FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another - and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien - and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention - or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021, Books<

1983, ISBN: 0394422252

edizione con copertina rigida

[EAN: 9780394422251], [PU: Knopf], LITERARY CRITICISM IRELAND LITERATURE, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of … Altro …

[EAN: 9780394422251], [PU: Knopf], LITERARY CRITICISM IRELAND LITERATURE, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. . FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another—and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien—and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention—or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021, Books<