By George Stade
This quantity is one among an increasing literary reference paintings of encyclopaedic dimensions which goals to supply severe introductions to the works, lives, and recommendations of the writers who've formed the cultural history of the western global. This variation extends assurance with 23 essays on novelists, poets, philosophers, historians and playwrights, who've come to the fore within the interval 1950-1980 and who're now considered as indispensible to the literary scene. The record contains: Samuel Beckett, Edward Bond, Anthony Burgess, Lawrence Durrell, John Fowles, William Golding, Graham Greene, Ted Hughes, Arthur Koestler, Philip Larkin, Doris Lessing, Iris Murdoch, V.S. Naipaul, John Osbourne, Harold Pinter, Paul Scott, Peter Shaffer, Muriel Spark, Tom Stoppard, David Storey, Dylan Thomas, Patrick White and Angus Wilson.
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When Lewis meets the upper-class Elizabeth Gruffydd-Williams, with whom he will have an affair, he notices with irritation her upper-class English voice and manner and then her appearance: "she was attractive in a square-shouldered, tautbloused way, with skin the colour of the top of the milk and hair the colour of tar" (ch. 1). At one point, Elizabeth declares to him passionately, "I desire you utterly. . I want all your desire" (ch. 9). Looking back on this later, Lewis thinks that "its embarrassing quality was confined to its stylistics.
Amis tells of how he The boy in his early teens . . sees the world with the delighted, faintly hostile astonishment of the tourist, who is entertained to the limits of endurance by its quaint tribal customs, its grotesque ritual dances, its capering, scowling, gesticulating witch-doctors. And if he later becomes a novelist he must strive to recapture, not indeed the undiff erentiating vision of childhood, but the adolescent's coldly wondering stare. ("City Ways") / KINGSLEY AMIS Although he failed to win a scholarship at St.
A key incident in this sequence is a visit the two of them pay to Henry Fielding's grave in Lisbon. Here are Bowen's thoughts: Perhaps it was worth dying in your forties if two hundred years later you were the only noncontemporary novelist who could be read with unaffected and wholehearted interest, the only one who never had to be apologised for or excused on the grounds of changing taste. And how enviable to live in the world of his novels, where duty was plain, evil arose out of malevolence and a starving wayfarer could be invited indoors without hesitation and without fear.