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PREFACE Believing as I do that James Thomson is, since Shelley, the most brilliant genius who has wielded a pen in the service of Freethought, I take a natural pride and pleasure in rescuing the following articles from burial in the great mausoleum of the periodical press. There will doubtless be a diversity of opinion as to their value. One critic, for instance, has called “The Story of a Famous Old Jewish Firm” a witless squib; but, on the other hand, the late Professor Clifford considered it a piece of exquisite mordant satire worthy of Swift. Such differences are inevitable from the very nature of the subject. Satire, more than any other form of composition, rouses antipathy where it does not command applause; and the greater the satire, the more intense are the feelings it excites. But which side, it may be inquired, is likely to be the best judge? Surely the friendly one. Sympathy is requisite to insight, as Carlyle says; while hostility blinds us to a thousand virtues and beauties. I am aware that many will take objection to the employment of satire at all, whether good or bad, on religious topics; but this seems to me preposterous, and I should readily answer it, if Thomson had not done so himself in the most vigorous and triumphant manner. Nearly all the pieces in this volume appeared originally in the National Reformer or the Secularist. I have attempted no arrangement of them, not even a chronological one; the compositor has shuffled them at his own sweet will. All I have done, besides collecting them and carefully reading the proofs, is to indicate in each case the year of first publication; and I think the reader will approve this plan as both modest and sensible.
As nineteenth-century realism became more and more intrepid in its pursuit of describing and depicting everyday life, it blurred irrevocably into the caustic and severe mode of literature better named satire. Realism's task of portraying the human became indistinguishable from satire's directive to castigate the human. Introducing an entirely new way of thinking about realism and the Victorian novel, Aaron Matz refers to the fusion of realism and satire as 'satirical realism': it is a mode in which our shared folly and error are so entrenched in everyday life, and so unchanging, that they need no embellishment when rendered in fiction. Focusing on the novels of Eliot, Hardy, Gissing, and Conrad, and the theater of Ibsen, Matz argues that it was the transformation of Victorian realism into satire that granted it immense moral authority, but that led ultimately to its demise.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1967.
The ruthlessly engrossing and beautifully rendered story of the Brodskys, a family of artists who realize, too late, one elemental truth: Creation’s necessary consequence is destruction. Each member of the mercurial clan in Adam Mansbach’s bold new novel faces the impossible choice between the people they love and the art that sustains them. Tristan Brodsky, sprung from the asphalt of the depression-era Bronx, goes on to become one of the swaggering Jewish geniuses who remakes American culture while slowly suffocating his poet wife, who harbors secrets of her own. Nina Hricek, a driven young Czech photographer escapes from behind the Iron Curtain with a group of black musicians only to find herself trapped yet again, this time in a doomed love affair. And finally, Tris Freedman, grandson of Tristan and lover of Nina, a graffiti artist and unanchored revolutionary, cannibalizes his family history to feed his muse. In the end, their stories converge and the survival of each requires the sacrifice of another. The End of the Jews offers all the rewards of the traditional family epic, but Mansbach’s irreverent wit and rich, kinetic prose shed new light on the genre. It runs on its own chronometer, somersaulting gracefully through time and space, interweaving the tales of these three protagonists who, separated by generation and geography, are leading parallel lives.