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Examines the full sweep of metaphorical and symbolic language in Malraux's six novels and also discloses the patterns of image structure imbedded in the text of Malraux's novels, and brings them to the surface in a clearly organized form.
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The two principal axes of inquiry are Malraux's ongoing quest for a dimension of transcendence within human life and, at lest as compelling, his search for the most appropriate and effective means by which to express a changing awareness of just what that dimension might be. Not surprisingly, in a world apparently doomed to languish in the spectral shadow of Death, there are certain constants: a yearning for some fraternity to combat man's essential solitude, a refusal to sink without effort into the vortex of the Absurd, a conviciton that life is to be lived fully and intensely. The human condition is what it is. The ways in which Malraux's characters, and of course Malraux himself, cope with this condition reveal a clear evolution, especially from the 1933 novel La condition humaine onwards. The reader follows Malraux from playful adolescence through the dichotomy of anguish and glorification in his middle years, towards the primarily interrogative utterances of the mature man. The often frivolous, sometimes sardonic, humour of youth gives way first to a painful recognition of the abyss, then to the discovery of a very tentative equilibrium in the philosophy of metamorphosis espoused by an older Malraux. André Malraux: Towards the Expression of Transcendence reveals the principal steps by which Malraux achieved that equilibrium.
The phrase 'cinematic fiction' has now been generally accepted into critical discourse, but is usually applied to post-war novels. This book asks a simple question: given their fascination with the new medium of film, did American novelists attempt to apply cinematic methods in their own writings? From its very beginnings the cinema has played a special role in defining American culture. Covering the period from the 1910s up to the Second World War, Cinematic Fictions offers new insights into classics like The Great Gatsby and The Grapes of Wrath discussing major writers' critical writings on film and active participation in film-making. Cinematic Fictions is also careful not to portray 'cinema' as a single or stable entity. Some novelists drew on silent film; others looked to the Russian theorists for inspiration; and yet others turned to continental film-makers rather than to Hollywood. Film itself was constantly evolving during the first decades of the twentieth century and the writers discussed here engaged in a kind of dialogue with the new medium, selectively pursuing strategies of montage, limited point of view and scenic composition towards their different ends. Contrasting a diverse range of cinematic and literary movements, this will be compulsory reading for scholars of American literature and film.