Garcıa Márquez’s (1927-2014) first novella, Leaf Storm, was translated into English in 1972, eighteen years after it was published in Spanish and two years after the English-speaking public first read his acclaimed masterpiece One Hundred Years of Solitude. As might… Read More ›
The publication of Chronicle of a Death Foretold broke Gabriel Garcıa Marquez’s (1927-2014) self-imposed “publication strike.” (He had pledged to not publish anything for as long as Chilean dictator Augusto Pinochet remained in power.) Garcıa Marquez’s period of silence started… Read More ›
Carlos R. Rodr ́ıguez, a friend of Garcıa Marquez (1927-2014) and well-known literary critic, wrote that if One Hundred Years of Solitude had not secured the road to Stockholm for Garcıa Marquez to receive the Nobel Prize in literature, Love in… Read More ›
Gabriel Garcıa Marquez’s (1927-2014) One Hundred Years of Solitude was first published on May 30, 1967, in Buenos Aires, Argentina. The cover of the first edition, which was never repeated, depicted the silhouette of a galleon floating amid trees against a… Read More ›
Jane Hamilton (born July 13, 1957) achieved early success with the publication of her first novel. In 1989, The Book of Ruth received the Great Lakes College Association New Writers Award, the Banta Award, and the Hemingway Foundation/PEN Award for… Read More ›
The most obvious testimony to Shirley Ann Grau’s (July 8, 1929 – August 3, 2020) success is the Pulitzer Prize for fiction that she received in 1965 for The Keepers of the House. Significantly enough, the same novel appeared in condensed… Read More ›
Ivan Goncharov’s (1812-1891) novels mark the transition from Russian Romanticism to a much more realistic worldview. They appeared at a time when sociological criteria dominated analysis and when authors were expected to address the injustices of Russian life. The critic… Read More ›
Each of José Donoso’s (5 October 1924 – 7 December 1996) novels had its special success, and the writer’s prestige grew with each stage of his career. Despite a slow beginning (he came to the novel at age thirty three),… Read More ›
Hermann Broch must surely be counted among such other major German novelists of the twentieth century as Franz Kafka, Mann, Robert Musil, Heinrich Böll, and Günter Grass, alongside such other creative artists as Wassily Kandinsky, Gustav Klimt, Oskar Kokoschka, Gustav… Read More ›
Accentual meter: A base meter in which the occurrence of a syllable marked by a stress determines the basic unit, regardless of the number of unstressed syllables. It is one of four base meters used in English (accentual, accentual-syllabic, syllabic,… Read More ›
Has the world ever seen a woman’s love to rival that of Du Liniang? Dreaming of a lover she fell sick; once sick she became ever worse; and finally, after painting her own portrait as a legacy to the world,… Read More ›
With Mrs. Behn we turn a very important corner on the road. We leave behind, shut up in their parks among their folios, those solitary great ladies who wrote without audience or criticism, for their own delight alone. We come… Read More ›
Seen in the context of Hauptmann’s work and of the contemporary literary situation, Die Weber was indeed a unique contribution. For its author it represented a first application of Naturalist theory and technique to documented, historical subject matter, and for… Read More ›
Tragedy presupposes guilt, despair, moderation, lucidity, vision, a sense of responsibility. In the Punch-and-Judy show of our century . . . there are no more guilty and also, no responsible men. It is always, “We couldn’t help it” and “We… Read More ›
The particular setting of The Dybbuk is the world of Hasidic pietism which grew out of one sage’s intense sense of the goodness and accessibility of God and out of his profound conviction, therefore, of the necessity for joy and… Read More ›
Lope is like ten brilliant minds inhabiting one body. An attempt to enclose him in any formula is like trying to make one pair of boots to fit a centipede. —Ezra Pound, The Spirit of Romance Any gathering of the… Read More ›
Gao Xingjian’s plays are characterized by originality, in no way diminished by the fact that he has been influenced both by modern Western and traditional Chinese currents. His greatness as a dramatist lies in the manner in which he has… Read More ›
The Berger family are on the verge of the middle class and as such are especially vulnerable. To deny the reality of the American dream is ostensibly to condemn themselves to permanent deprivation. The constant image is one of flight,… Read More ›
His plays are concerned with expressing his own feeling of helplessness and solitude when confronted with the despair and loneliness of man caught in the hall of mirrors of the human condition, inexorably trapped by an endless progression of images… Read More ›
Nothing happens in Endgame and that nothing is what matters. The author’s feeling about nothing also matters, not because it is true or right but because it is a strongly formed attitude, a felt and expressed viewpoint. . . …. Read More ›
You must be logged in to post a comment.