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Winner of both the National Book Critics Circle Award and the Pulitzer Prize, Oscar Wilde is the definitive biography of the tortured poet and playwright and the last book by renowned biographer and literary critic Richard Ellmann. Ellmann dedicated two decades to the research and writing of this biography, resulting in a complex and richly detailed portrait of Oscar Wilde. Ellman captures the wit, creativity, and charm of the psychologically and sexually complicated writer, as well as the darker aspects of his personality and life. Covering everything from Wilde's rise as a young literary talent to his eventual imprisonment and death in exile with exquisite detail, Ellmann's fascinating account of Wilde's life and work is a resounding triumph.
Richard Ellmann's scholarly work is notable for its striking liveliness and clarity and its genuine illumination of the writers and works with which he dealt. His life of James Joyce, published in 1959, received more commendation and critical praise than any previous literary biography.
Writing with characteristic wit and brio, and employing the insight and acumen of a skilled novelist and critic, Lodge explores the representation of human consciousness in fiction (mainly English and American) in light of recent investigations in the sciences.
A splendid collection of literary essays by "the greatest biographer of the century"--The Sunday Times, London. Ellmann's Oscar Wilde was a tremendous critical success, winning both the NBCC and the Pulitzer Prize last year.
'There are three kinds of strike I'd recommend: a housework strike, a labour strike, and a sex strike. I can't wait for the first two.' Things Are Against Us is the first collection of essays from Booker Prize-shortlisted Lucy Ellmann. Bold, angry, despairing and very, very funny, these essays cover everything – from matriarchy to environmental catastrophe to Little House on the Prairie. Ellmann calls for a moratorium on air travel, rages against bras, gives Doris Day and Agatha Christie a drubbing, and pleads for sanity in a world that – well, a world that spent four years in the company of Donald Trump, that 'tremendously sick, terrible, nasty, lowly, truly pathetic, reckless, sad, weak, lazy, incompetent, third-rate, clueless, not smart, dumb as a rock, all talk, wacko, zero-chance lying liar'. Things Are Against Us is electric. It's vital. These are essays bursting with energy, and reading them feels like sticking your hand in the mains socket. Lucy Ellmann is the writer we need to guide us through these crazy times.
Ellmann's sensitivity to what it meant to be an artist shaped his work from the outset: "The life of an artist ... differs from the lives of other persons in that its events are becoming artistic sources even as they command his present attention. Instead of allowing each day, pushed back by the next, to lapse into imprecise memory, he shapes again the experiences which have shaped him." Richard Ellmann died in 1987. His life and work have touched the lives of many. Some of the essays in this collection commemorate Richard Ellmann and his committment to Twentieth Century literature: most provide a continuing investigation of the Twentieth Century literature to which he devoted his carrer. Contributors include: Alison Armstrong, Daniel Albright, Christopher Butler, Carol Cantrell, Jonathan Culler, Elizabeth Butler Cullingford, Andonis Decavelles, Rupin Desai, Susan Dick, Terence Diggory, Terry Eagleton, Rosita Fanto, Charles Feidelson, James Flannery, Charles Huttar, Bruce Johnson, John Kelleher, Brendan Kennelly, Frank Kermode, Declan Kiberd, Peter Kuch, Bruce Johnson, James Laughlin, A. Walton Litz, Dominic Manganiello, Ellsworth Mason, Christie McDonald, Dougald McMillan, Sean O'Mordha, Vivian Mercier, Mary T. Reynolds, William K. Robertson, Joseph Ronsley, S.P. Rosenbaum, Ann Saddlemyer, Sylvan Schendler, Daniel Schneider, Fritz Senn, Jon Stallworthy, Lonnie Weatherby, Thomas Whitaker, and Elaine Yarosky.
Reprint. Originally published: New York: Random House, [1969]
Umberto Eco published his first novel, The Name of the Rose, in 1980, when he was nearly fifty. In these “confessions,” the author, now in his late seventies, looks back on his long career as a theorist and his more recent work as a novelist, and explores their fruitful conjunction. He begins by exploring the boundary between fiction and nonfiction—playfully, seriously, brilliantly roaming across this frontier. Good nonfiction, he believes, is crafted like a whodunnit, and a skilled novelist builds precisely detailed worlds through observation and research. Taking us on a tour of his own creative method, Eco recalls how he designed his fictional realms. He began with specific images, made choices of period, location, and voice, composed stories that would appeal to both sophisticated and popular readers. The blending of the real and the fictive extends to the inhabitants of such invented worlds. Why are we moved to tears by a character’s plight? In what sense do Anna Karenina, Gregor Samsa, and Leopold Bloom “exist”? At once a medievalist, philosopher, and scholar of modern literature, Eco astonishes above all when he considers the pleasures of enumeration. He shows that the humble list, the potentially endless series, enables us to glimpse the infinite and approach the ineffable. This “young novelist” is a master who has wise things to impart about the art of fiction and the power of words.