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This study looks at the comic dimension and ironic tone of Iris Murdoch's work and argues that these elements are as important to an understanding of her novels as is her use of mythic patterns and philosophical ideas.
This study reflects recent feminist interest in Wharton as a critic of American materialism and as a woman who personally escaped from the confines of the conventional, prosperous Eastern urban society of her time. Building upon the work of R. W. B. Lewis and C. G. Wolff, the author gives close readings of Wharton's best-known novels and traces her interpretation of changing social mores from the 1870s through the 1920s. Concludes that Wharton was not a "fossilized old New Yorker" but an independent, fearless seeker of the intelligent, creative life. ISBN 0-8386-3126-6 : $24.50.
Against a background of Continental literary movements, Auchard explores the structures of silence in the novels and tales of Henry James. He develops their dynamics in terms of plot and action as he draws out their disturbing philosophical implications. The book relates James to the reaction against nineteenth-century materialism, which was symbolism, to the potency of decadence, to the century's pulses of mysticism, even to its wave of aestheticized Catholicism, and it brings James up to the edge of the modern abyss. In presenting the distinction between the symbolic richness of positive silences and the decadent void of negative silences, the work provides original scholarship of the highest order, both on James and on the extensive literature of silence, symbolism, and decadence. Silence in Henry James may indeed be a source of integrity, vitality, and fertility, but it plays out its subtle dialectic on the edge of nothingness and sometimes on the brink of collapse.
Concentrating on the work Marianne Moore produced during the first two decades of her long career (1915-36), John Slatin's closely documented account of Moore's poetic development affords a radically new sense of Moore's concerns and of her stature as a poet, countering the usual image of Moore as a charming eccentric whose work is unrelated to that of any other poet. Virtually everything Moore wrote responds in some way to the profound sense of isolation at the core of her sense of self, sometimes embracing isolation, but more often seeking desperately to overcome it. The young Moore was fiercely ambitious, stubbornly determined to make a place for herself within the literary community of her day. The Savage's Romance describes how she went about doing that and shoes the consequences of her success. Placing her beside Ezra Pound, T. S. Eliot, William Carlos Williams, and Wallace Stevens as one of the major poetic figures of her generation, Slatin demonstrates that Moore's work is neither as opaque nor as impervious to the work of other writers as she likes to pretend, and shows how her poetic identity emerges from her increasingly complex efforts to come to terms with the creative power of her contemporaries. Describing Moore's increasing involvement in what Eliot calls the "great labour" of furnishing herself with a tradition of Emerson and Thoreau and Hawthorne, thus revealing her to be what she herself called Henry James: a "Characteristic American." The concern of this book is with the power of her poems, singly and collectively, to engage and persuade not just our own belated attention but the attention of her contemporaries as well.
Johnson describes Dickinson's poetic canon as the enactment of a major Romantic quest.
This book provides close look at the predominant character types and plot patterns found in the urban stories of William Sydney Porter (more familiarly known as O. Henry), analyzing how these elements structure his tales and contribute to his popular formulas. Blansfield also examines Porter’s adventurous but troubled background—as a ranch hand, cowboy, bank teller, journalist, prisoner, fugitive, and more—to see how his own experience shaped these aspects of his fiction. The book considers how the bustling, turbulent conditions of New York City at the turn of the century helped to launch Porter’s [O. Henry’s] meteoric career.