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Alan Kent is a wanderer, a seeker. Driven by, or fleeing from, unnamed forces, he struggles against the hardening effects of a brutal and indifferent world. In a series of episodes, Erskine Caldwell tells the semiautobiographical story of Kent's childhood, roving early manhood, and transformation into an artist. The episodes, which range from brief, graphic sketches to one-sentence impressions, are filled with elemental images of light and darkness, blood and water, earth and sky.
Conversations with Erskine Caldwell contains thirty-two interviews with this major writer, who during his long career enjoyed both the celebrity and the controversy that his books generated. These collected interviews include what is apparently his first, given in 1929 before the publication of The Bastard, to one of the very last, given only weeks before his death in April 1987. Caldwell was a lifelong outspoken opponent of censorship and an early advocate of racial equality. His ideas were reflected in a number of important interviews and portraits, often in newspapers or small journals not easily obtained today. In his later years he became a kind of elder statesman, celebrated as the last of that extraordinary generation of American writers which included Faulkner, Fitzgerald, Hemingway, Wolfe, and Steinbeck and which changed the face of American literature. The interviews in this collection reveal Caldwell's attitudes toward the profession of writing. He describes his early years of struggle, his determination to prove himself as a writer, and his tremendous success as the author of Tobacco Road and God's Little Acre, two American classics. He explains his attitude toward the South and his desire to bring about social reform through his writings. He is also candid about his own personal trials, his doubts and beliefs, and the state of his critical reputation.
This book tests critical reassessments of US radical writing of the 1930s against recent developments in theories of modernism and the avant-garde. Multidisciplinary in approach, it considers poetry, fiction, classical music, commercial art, jazz, and popular contests (such as dance marathons and bingo). Relating close readings to social and economic contexts over the period 1856–1952, it centers in on a key author or text in each chapter, providing an unfolding, chronological narrative, while at the same time offering nuanced updates on existing debates. Part One focuses on the roots of the 1930s proletarian movement in poetry and music of the nineteenth and early twentieth centuries. Part Two analyzes the output of proletarian novelists, considered alongside contemporaneous works by established modernist authors as well as more mainstream, popular titles.
William Troy (1903-1961) was a highly regarded literary critic during the 1930s and 1940s. Among his contemporaries, he ranked with Edmund Wilson, Kenneth Burke, and F. O. Matthiessen. Indeed, in the preface to the posthumous, 1968 publication of his Selected Essays, which won a National Book Award, Allen Tate placed Troy among the handful of the best critics of this century. Troy's criticism was informed by an intelligence so balanced that, where many theoreticians took up positions in logical traps, he easily avoided them. At the very moment when scholars and critics were either treating literature like polemics or investigating ideas as if belles-lettres were a sub-category of history or philosophy, Troy acknowledged both the centrality of literary ideas and their distinction from ideas in other forms. When confronted with a text, he analysed it with a firm sense of its inherent meaning and of its cultural implications, in a style that expresses seriousness of commitment precisely and clearly. The Bookman presents a selection of Troy's remaining writings on such major literary figures as Henry James, e. e. cummings, Ernest Hemingway, Edith Wharton, F. Scott Fitzgerald, T. S. Eliot, Andre Gide, William Faulkner, James Joyce, Albert Camus, Jean Cocteau, Willa Cather, W. H. Auden, Virginia Woolf, and Emile Zola. Troy produced a body of work that is timeless, permanent, and exemplary -- perhaps as much as, if not more so than, the work of such other critical contemporaries of his as the Anglo-Americans Yvor Winters, I. A. Richards, William Empson, George Jean Nathan, and R. P. Blackmur. Published in conjunction with Film Nation: William Troy on the Cinema, 1933-1935 (ISBN 978-1-78976-173-3), The Bookman is clear evidence of Troy's role as one of the foremost critics of his age. Inclusion of a substantive index makes the work an essential and accessible gateway to a wide range of literary criticism.
Erskine Caldwell has been compared to literary giants like Faulkner and Hemingway, yet he has also been reviled as peddler of pop trash. Was he a genius, or just a shooting star whose brilliance faded long before he stopped writing? Caldwell began his career in the late 1920s and gained fame for revealing the gritty backwoods South in novels such as his seminal Tobacco Road. He wrote prolifically, sometimes as much as a book a year. As the editor of this book maintains, perhaps anyone who wrote so much would inevitably stumble. These 12 essays explore a variety of issues. They discuss Caldwell as humorist, social commentator, modernist, and revolutionary novelist. They examine his themes and tropes (political images, social injustice, the environment, ideological struggles) and his use of artistic devices (short stories, cubist strategies, repetition). A generous bibliography includes not only books on Caldwell but also chapters and forewords, journal articles, essays, news items and obituaries. The reader is encouraged to look at Caldwell with fresh eyes, to press beyond his controversial image, and to compare his works, especially his early ones, to those of any of the top names in literature.
Since the 1930s, Erskine Caldwell's writings have provoked laughter and pathos, curiosity and disbelief. His perplexing characters, comically motivated only by their instincts for survival, allowed Caldwell to illustrate the duality of human nature as he explored the social issues of his times in such celebrated novels as Tobacco Road and God's Little Acre. Behind Caldwell's social protest and his comic characters lay a man whose life imitated art. A rural southerner who later moved among the movie industry's famous and powerful, Caldwell led a life as compelling as any of his fiction. As Harvey Klevar weaves the threads of this life into the cultural tapestry of the times, he explores the myriad of personal forces and world events that contributed in the 1930s to Caldwell's popular acclaim and later to his descent from literary grace. A recluse in both his personal life and in his public writing, Caldwell offered little direction to those seeking clues to his literary intentions. Klevar argues that Caldwell should have shared more in the accolades heaped upon his contemporaries Faulkner, Hemingway, and Steinbeck; but ultimately his personal idiosyncrasies encouraged his underestimation by the literary establishment. Proving that a careful reappraisal of Caldwell's life lends critical insight into his writings and career, Klevar's work unveils an inventive artist who skillfully combined social phenomena with personal experience to offer unique insights into the telling of the human story.
Esteemed critic Blanche Gelfant's brilliant companion gathers together lucid essays on major writers and themes by some of the best literary critics in the United States. Part 1 is comprised of articles on stories that share a particular theme, such as "Working Class Stories" or "Gay and Lesbian Stories." The heart of the book, however, lies in Part 2, which contains more than one hundred pieces on individual writers and their work, including Fitzgerald, Hemingway, Richard Ford, Raymond Carver, Eudora Welty, Andre Debus, Zora Neal Hurston, Anne Beattie, Bharati Mukherjee, J. D. Salinger, and Jamaica Kincaid, as well as engaging pieces on the promising new writers to come on the scene.