By Jane Smiley
Pulitzer Prize winner and bestselling novelist Jane Smiley celebrates the novel–and takes us on an exciting journey via 100 of them–in this seductive and immensely profitable literary tribute.
In her inimitable style–exuberant, candid, opinionated–Smiley explores the facility of the unconventional, its heritage and diversity, its cultural effect, and simply the way it works its magic. She invitations us backstage of novel-writing, sharing her personal conduct and spilling the secrets and techniques of her craft. and he or she deals worthwhile suggestion to aspiring authors. As she works her method via 100 novels–from classics equivalent to the thousand-year-old Tale of Genji to contemporary fiction by means of Zadie Smith and Alice Munro–she infects us anew with the eagerness for studying that's the governing spirit of this reward to e-book fans all over the place.
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The accrued Works of W. B. Yeats, quantity X: Later Articles and experiences is a part of a fourteen-volume sequence lower than the final editorship of eminent Yeats students Richard J. Finneran and George turbines Harper. this primary entire variation contains almost the entire Nobel laureate's released paintings, in authoritative texts and with large explanatory notes.
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Additional info for 13 Ways of Looking at the Novel
INTRODUCTION 25 JULIA: Ay, that change is the spite. HOST: You would have them always play but one thing? JULIA: I would always have one play but one thing. 64–69)74 To Julia, the aesthetic sophistication of the music is nothing more than a painful reminder of Proteus’s falsity. ’ is checked on ethical grounds; the betrayed Julia takes no pleasure in the music, and sympathizing with her has the effect of moving the discussion onto a more abstract plane. Thanks to the ambiguity of the word ‘one’, the remark, ‘I would always have one play but one thing’, is interpretable on several levels.
13 A more recent fashion has been to pose a distinction between Catholic theatricality as expressed in liturgical contexts, and Protestant condemnation of ceremony, identifying the latter attitude as lying behind attacks on the theatre. But there are two problems with this: ﬁrst, it ignores the fact that many Protestants, especially in the Lutheran tradition, retained a good deal of religious ceremonial, and second, it erodes the distinction between what happened inside and outside church. 15 Protestants employed drama in polemical contexts too.
While declaring that the prohibition was directly aimed at speciﬁc offenders, including Leke himself, Colleton’s statement reveals that this was only one of a series of admonitions from archpriests, stretching back to the turn of the century, which in turn suggests that it was not unusual for Catholic clerics to attend playhouses. Colleton’s theoretical justiﬁcation of antitheatricalism is at many points very similar to the Protestant texts discussed above, resorting like them to St John Chrysostom and St Augustine, and taking a highly negative view of professional actors and the playhouse environment.
13 Ways of Looking at the Novel by Jane Smiley