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Maurice: A Novel
E. M. Forster
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ASIN: 0393310329 |
Book Description
"The work of an exceptional artist working close to the peak of his powers."—Christopher Lehmann-Haupt, New York Times
Set in the elegant Edwardian world of Cambridge undergraduate life, this story by a master novelist introduces us to Maurice Hall when he is fourteen. We follow him through public school and Cambridge, and on into his father's firm, Hill and Hall, Stock Brokers. In a highly structured society, Maurice is a conventional young man in almost every way, "stepping into the niche that England had prepared for him": except that his is homosexual.
Written during 1913 and 1914, immediately after Howards End, and not published until 1971, Maurice was ahead of its time in its theme and in its affirmation that love between men can be happy. "Happiness," Forster wrote, "is its keynote….In Maurice I tried to create a character who was completely unlike myself or what I supposed myself to be: someone handsome, healthy, bodily attractive, mentally torpid, not a bad businessman and rather a snob. Into this mixture I dropped an ingredient that puzzles him, wakes him up, torments him and finally saves him."
Customer Reviews:
Love is just Love.......2007-06-18
This is one of the few books I plan to read again. What a beautiful story. For those of us who have not had a same-sex relationship, it illustrates that, love is just love, the emotions and feelings are the same regardless. This book was impossible to put down yet difficult to finish and say goodbye to.
Love Ultimately Prevails.......2005-03-18
I saw the film "Maurice" long before I read the book. As delightful as the movie is, the book is even better, because we are able to get into the thoughts of the characters and the mind-set near the turn of the 20th century. At first, I did not like Forster's writing style; it's almost too economical, occasionally cryptic. Many times the prepositional referent isn't altogether clear, creating unnecessary ambiguity. Moreover, a lot of the jargon is particular to second-decade England, not to current U.S readers. But as the story picks up momentum, the economy of style turns almost poetic, and the linguistic particularities fade, making this novel into a real page-turner.
The story and the characters are highly realistic, even by today's standards (though written in 1914). There's the common issue of the conflict with "coming-out" gay vis-a-vis the desire to be "normal," which as Forster concludes, is essentially one and the same, regardless of nature's impulses. While to be gay is ultimately to be normal, it is not without its social and personal prejudices and misunderstandings, particularly at the time this book was written. Likewise, Forster demonstrates that gay people can (and most often do) lead quite normal, happy, even transforming lives, despite these difficulties. This is what gives the novel its joy.
Above all, this is a typical story of the vicissitudes of love, the only difference being that it involves three men (and several secondary women). One man (Clive), while thoroughly enjoying his same-sex love, ultimately represses it to make himself socially acceptable, politically viable, and personally miserable. Another man (Maurice), initially thinks he has to do likewise, but he cannot suppress the insuppressible, and finally does the inevitable and heeds his nature's call. The third man (Alec) discovers his unique love, and while initially angry that his love isn't immediately reciprocated, comes to love the man who really does love him after all. In many ways, this is the ultimate "homosexual" novel, but in many other ways, it is also the universal romantic novel.
Beyond the obvious love story, Forster weaves in various themes and ideas of the times (that are still with us). For the perspicuity in incorporating these themes and how they relate to being a human being first, and being gay second, Forster makes for a most satisfying reflection and examination of perennial issues. Not only is the single most important emotion, love, addressed in all its complexities, but so are certain theological, psychological, philosophical, business, and political nuances addressed. The whole enterprise is exceptionally satisfying. A novel worth anyone's time.
Let me count the ways..........2005-01-04
Why do I love this book? Is it because E. M. Forster presents a wide and believable spectrum of queer men? Because of how the title character is such a good example of the heroism ordinary people can have? Because of the fact that it's a piece of Edwardian queer literature that doesn't end with insanity, despair, or death? Because Alec Scudder is the best bisexual character in all of literature? Yeah, it's all of the above.
Various literary critics and historians have voiced the opinion that E. M. Forster was cowardly to have not published it during his lifetime, but given that he was a somewhat retiring person who came of age as Oscar Wilde was undergoing his trials, I think it's pretty brave that he wrote it at all. "Maurice" is never sensationalized, nor is it cliched. Things I found as flaws revealed themselves as underscored points upon re-reading. I will go so far as to say that this book should be read by every single person on the face of this earth.
A Most Wonderful Novel!.......2004-06-27
"Maurice" was written by E.M. Forster in 1914, but as he instructed, the novel was not published until after his death in 1970 as he did not want to shock "society" (specifically, "England") due to the strong homosexual theme (which was unacceptable then).
To me, this is Forster's best and most readable novel. It is also easily his most romantic and sexual. I was completely absorbed in the story right from page 1 and couldn't put the book down! The scenes, situations and dialogue are so richly and beautifully written, while the love story is simply one of the most moving I've ever read.
Maurice is our hero here - young, rich, Cambridge-educated and quite a snob. He is not aware of his true sexuality until it is "brought out" by his Cambridge friend, Clive who loves Maurice first. Their coming together and love affair are simply delicious to read and when the words "Maurice, I love you" and "I you" are uttered, tears just came to my eyes because it was so romantically-written, and I said to myself, "At last Maurice is happy". However, after some years of happiness, comes despair when Maurice is rather cruelly rejected by Clive who claims that he (Clive) has "suddenly become normal" and cannot love Maurice anymore. This novel succeeds because Forster had created a most believable and lovable hero in Maurice. His hope becomes your (i.e. the reader's) hope, his love your love, and his despair your despair. You desperately want him to find love and happiness again. And then when Maurice has decided to give up on love and life, his saviour appears on the scene in the form of the attractive, working-class man, Alec. The ending is a great triumph on the power of love and hope. I know I should be depressed for days (if not weeks) if this novel were to have a sad ending...
Unlike Forster's other novels, this one is much "braver" and contains real sexual situations. The scenes are rather erotic (especially between our hero and Alec) without being too revealing and they are written in such a romantic, honest and passionate manner that will certainly melt your heart.
This novel was filmed to critical success in 1987 by the Merchant-Ivory team (who did "A Room with a View" in 1985) and starred James Wilby (as Maurice), Hugh Grant (as Clive) and Rupert Graves (as Alec). I've ordered the DVD and can't wait to watch it.
I love "Maurice" so much and will remember its beauty forever. The romantic scenes made me cry, the funny scenes at the hypnotist's made me laugh and the ending of the novel made me feel very-very happy. I know that anyone who picks up this book will be in for a wonderful time. It is a novel that could be read again and again. Now, if I were to be stranded on a desert island and could only have 1 book for company, "Maurice" will definitely be it!
A 9/10!
a novel not published for many years.......2003-11-01
MAURICE is a novel of homosexual love, the first one I have ever read, but more than that it is a very direct description, perhaps as honest as could be---without either sensationalism or trivialization---of the inner feelings of a homosexual man. It begins when the main character, Maurice Hall, is a school boy, traces his emotional life through Cambridge and into the world of work, and ends in an upbeat, if rather abrupt fashion. In the confusion of early years, Maurice does not realize his true nature, but loses himself in sports, hi-jinks and studies. He devotes himself to his mother and two sisters. In short, his is the life of a typical English public school boy at the time (pre-WW I) Only at university does he recognize his real nature, though he'd had intimations mostly ignored, and truly falls in love with Clive Durham, a fellow student. Forster traces the ups and downs of this affair, leading the reader through all the ups and downs of homosexual love affairs. Maurice joins a financial investment firm, leading a totally conventional life in Britain's rigid class society, except for his sexual orientation. Eventually events take an unplanned course, Maurice winds up with another man, of a different class and nature. He experiences hitherto unknown problems. The ending, given Forster's rather pessimistic outlook on life, is unexpected.
This novel may not be for everybody, but if you attempt it, you will admire the skillful writing of E.M. Forster and you will come away appreciating his honesty. The dialogues sound very alien to an American in the early 21st century---a whole different way of using the English language---but no doubt they add a special flavor to the book, a period piece after all. I would say that a person who does not try to understand all aspects of the human condition has not truly lived, has not truly understood himself/herself. This is to readers who may not see the point of reading a novel about homosexual love. If you can't appreciate it as the great literature it is, perhaps you will think about the courage it took to write such a novel in 1914. Even then, it was not published until 1971, a year after Forster's death. Perhaps you will imagine what it is to become a great writer and still not touch upon a subject so close to your heart.
Book Description
The suave adventures of a gentleman rogue—a French Thomas Crown
Created by Maurice LeBlanc during the early twentieth century, Arsène Lupin is a witty confidence man and burglar, the Sherlock Holmes of crime. The poor and innocent have nothing to fear from him; often they profit from his spontaneous generosity. The rich and powerful, and the detective who tries to spoil his fun, however, must beware. They are the target of Arsène's mischief and tomfoolery. A masterful thief, his plans frequently evolve into elaborate capers, a precursor to such cinematic creations as Ocean's Eleven and The Sting. Sparkling with amusing banter, these stories—the best of the Lupin series—are outrageous, melodramatic, and literate.
Book Description
Modern history is haunted by the disasters of the century—world wars, concentration camps, Hiroshima, and the Holocaust—grief, anger, terror, and loss beyond words, but still close, still impending. How can we write or think about disaster when by its very nature it defies speech and compels silence, burns books and shatters meaning?
The Writing of the Disaster reflects upon efforts to abide in disaster’s infinite threat. First published in French in 1980, it takes up the most serious tasks of writing: to describe, explain, and redeem when possible, and to admit what is not possible. Neither offers consolation.
Maurice Blanchot has been praised on both sides of the Atlantic for his fiction and criticism. The philosopher Emmanuel Levinas once remarked that Blanchot’s writing is a “language of pure transcendence, without correlative.” Literary theorist and critic Geoffrey Hartman remarked that Blanchot’s influence on contemporary writers “cannot be overestimated.”
Customer Reviews:
Learn to Think in Pain.......2006-11-04
In my opinion, this book is a purified example of what theory should be, how theory should be written. Granted that I've not read the original in French; but even through this darkened glass, there's enough light that breaks through. Enough to blind one.
In reading Blanchot, I think, you must never be "one". There is no Unity in the Disaster of Writing. "Just" Ethics. Blanchot's writing, to me, echoes that of Nietzsche (and also the later Wittgenstein): both are written in - so called - aphorisms, short phrases, unconnected by language's rules or direct meanings. No longer a detailed/derailed "Treatise" that's going to "make it all understood"; I view the Levinassian heritage - prominent in Blanchot's thought (he was good friends with Emmanuel Levinas) - as an "Ethics of Deconstruction" (to quote Critchley's wonderful book of Levinas and Derrida), as a fragmentation rather than unification. This fragmentation, this disintegration, this death - - allow the only Ethical standpoint available to a mortal facing the world: an infinite responsibility toward the Other.
That's why Blanchot - and also Derrida, in my opinion - is an Ethical Philosopher: his Writing of the disaster is always aware of the catastrophe the Other brings upon any "Unity" - whether Political (Totalitarianism) or psychological (what Lacan called "Ego Psychology") - and our Ethical obligation toward the Other as an infinite responsibility, one that does not have an "end", one that doesn't end.
In Blanchot, Form adheres to content, and therefore that's what makes his writing - again, in my eyes - Ethical. Writing ABOUT Ethics is one thing (and a pretty dead-end thing at that); But Writing Ethics, The Writing of the Disaster - is what Blanchot's book is all about.
One of the closing/opening remarks of His is "learn to Think in Pain". this is how I understand Ethics, if at all.
Worn Down Past the Nubb.......2003-02-12
To rate this book is to do its author a disservice. I might as well have given the text one star, for it makes no 'sense'. It is a multiple work, in the spirit of Nietzsche's aphoristic style, that attempts to lend a few scents to the reader. These scents might lead one to a space of silence in which the artist or writer relates with the source of his or her law, the inactive voice of reason. Can silence be rated? Our mistake is thinking that it can be rated and adhered to, giving rise to the disaster. The disaster is always already past; it is embedded in the way we read, the way we write, and the way we relate to texts. The disaster is something like the silencing of silence, and Blanchot's project attempts to rimind us to forget what we've read, as a historical community, and remember that which gives us pleasure in creating attempts to communicate with others.
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The World Encyclopedia of Cartoons (Contemporary Graphic Artists Series, 1)
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Customer Reviews:
The book of comics.......2000-10-27
This book was great. I learned so much that I thought my head would explode. The Yellow kid is funny and I really enjoyed being able to see what the actual drawings looked like. I give it 5 stars.
Book Description
With no male heir to assume the throne in the wake of Louis X's death, fierce struggles erupt throughout France to seize rule of the kingdom. Three male relatives of Louis X—his brother, the Duke of Poitiers; his uncle, the Count of Valois; and his cousin, the Duke of Burgundy fight amongst themselves. Meanwhile, the Count of Poitiers resorts to an ancient law to justify his right to the throne, adapting it cleverly to suit his purposes.
Book Description
With the death of Charles IV, the Capetian dynasty comes to an end, and the ascent of the Valois to the French throne unleashes the Hundred Years' War. Collective fate and individual tragedies play out in this sixth volume of the saga as the novel revives a time so turbulent and characters so outlandish that—were they not known to be historical figures—would seem fictitious.
Amazon.com
It seems incredible that an actual human being stands behind the works of Herman Melville, and we rightly expect a biography to show us that real, tangible man. When Melville made his debut in England, reviewers thought his books must have been the products of an esteemed English gentleman disguising himself under rough Yankee cloth. It was simply inconceivable that any American could produce such noble prose, or that any author could have lived the briny life Melville describes. Hershel Parker finds that life not unimaginable, but difficult to distill. His book is monumental in size and definitive in detail. Readers looking for a digestible portait of one of America's favorite authors may find this well researched book a bit rich (remember this is just Volume I), although it does reveal many new insights into Melville's life and family background. Regardless, Parker's book is a significant scholarly work and essential to serious students of this American master.
Book Description
Having left most of Moby-Dick with a printer in 1851, Herman Melville lamented to Nathaniel Hawthorne that he would go down in history as a "man who lived among the cannibals!" Until his death in 1891, Melville was known as the author of Typee (1846) and Omoo (1847)--both semiautobiographical travel books, and literary sensations because of Melville's sensual description of the South Sea islanders. (A transatlantic furor raged over whether the books were fact or fiction.) His most famous character was Fayaway--not Captain Ahab, not the White Whale, not Bartleby, and definitely not Billy Budd, whose story remained unpublished until 1924.
Herman Melville, 1819-1851 is the first of a two-volume project constituting the fullest biography of Melville ever published. Hershel Parker, co-editor of the Northwestern-Newberry Edition of The Writings of Herman Melville, reveals with extraordinary precision the twisted turmoil of Melville's life, beginning with his Manhattan boyhood where, surrounded by tokens of heroic ancestors, he witnessed his father's dissipation of two family fortunes. Having attended the best Manhattan boys' schools, Herman was withdrawn from classes at the Albany Academy at age 12, shortly after his father's death. Outwardly docile, inwardly rebellious, he worked where his family put him--in a bank, in his brother's fur store--until, at age 21, he escaped his responsibilities to his impoverished mother and his six siblings and sailed to the Pacific as a whaleman.
A year and a half after his return, Melville was a famous author, thanks to the efforts of his older brother in finding publishers. Three years later he was married, the man of the family, a New Yorker--and still not equipped to do the responsible thing: write more books in the vein that had proven so popular. After the disappointing failure of Mardi, which he had hoped would prove him a literary genius, Melville wrote two more saleable books in four months--Redburn and White-Jacket. Early in 1850 he began work on Moby-Dick. Moving to a farmhouse in the Berkshires, he finished the book with majestic companions--Hawthorne a few miles to the south, and Mount Greylock looming to the north. Before he completed the book he made the most reckless gamble of his life, borrowing left and right (like his wastrel patrician father), sure that a book so great would outsell even Typee.
Melville lovers have known Hershel Parker as a newsbringer--from the shocking false report headlined "Herman Melville Crazy" to the tantalizing title of Melville's lost novel, The Isle of the Cross. Carrying on the late Jay Leyda's The Melville Log, Parker in the last decade has transcribed thousands of new documents into what will be published as the multi-volume Leyda-Parker The New Melville Log. Now, exploring the psychological narrative implicit in that mass of documents, Parker recreates episode after episode that will prove stunningly new, even to Melvilleans.
Customer Reviews:
Herman Melville, part 1.......2005-10-14
A huge biography, too huge for its own good. It covers the years from Melville's birth in 1819 up to the publication of MOBY DICK in 1851. Parker seems to have tracked down every move in Melville's life, but curiously deals very little with his books. (It is definitely not a critical biography.)
One becomes overwhelmed with the minutae, though bits and pieces of them can be interesting: Melville felt that REDBURN was "trash," and he wrote it "to buy tobacco with." He feared being known merely as the author of TYPEE (his most popular book with the public by far), a somewhat scandalous book at the time. Melville also learned on his whaling voyage to the Pacific that sailors appreciated literature, and read or were read to often aboard ship.
Parker has certainly written a fact-filled book, but he doesn't go beyond recording the facts. Disappointing.
Nothing of Value for the Melville Enthusiast.......2002-08-30
Unless you are a determined and anxiety-ridden Ph. D. candidate studying for an oral exam, avoid this tedious display of pedantry. There are no insights into Melville's life or works here, only the stuff footnotes are made of. I guarantee this book as a cure for insomnia.
For poor devils of Sub-Subs only.......2002-07-13
A very long and detailed Melville biography. I appreciated the fact that it didn't devote much space to interpretations of the body of Melville's work. There's an awful lot of interpretive criticism already out there, and we didn't need more in a biography. If you're already a Melville fanatic and are really interested in whether Melville actually worked briefly at a bowling alley in Hawaii as a pin setter (the novel that he never wrote) or how he travelled on his honeymoon, you'll want to read this. If you haven't gotten much beyond one or two readings of Moby-Dick - that is if you haven't yet read Typee, Omoo, Whitejacket, Pierre, The Confidence Man - and still want to read the man's biography, I'd go for a more concise one than this. And the best news of all (for all Sub-Subs) is that Volume 2 is now available!
" ... new vitality to my soul. ".......2000-05-13
If you approach this work with a right understanding, that is a biography and not an interpretation of the works of Herman Melville, then you should honestly be able to rate it as top-notch. What some might call " disappointments " in what they learn about Melville; his family life, they way he behaved at times, and the manner in which he wrote his books, are to me, the lens by which we see more clearly the humanity of the man. Mr. Parker's work might seem too weighty for some, but I can't wait for Volume Two.
The definitive Melville of our time.......1999-10-06
Hershel Parker's credentials as a Melville scholar are unimpeachable--he's co-edited the authoritative Northwestern-Newberry edition of the complete works and seems to have eaten, slept, and breathed Melville for decades. Despite his daunting c.v., however, his massive, half-finished biography is eminently readable and entertaining.
While it would be impossible to depict a writer's life without addressing his or her work, the focus here is on the events of Melville's life, not his books. The fascinating national and family politics that preoccupied him are on particularly fine display. Readers with only a casual interest might see some details as mere minutiae, but each cited incident enriches the portrait of a complex man and artist.
Melville's history is not nearly so well documented as that of some of his contemporaries, so there is some educated guesswork regarding certain motives and details, but Parker is ever scrupulous about separating evidence from speculation. His immersion in Melville's work and his sympathetic understanding of the man make this volume the most trustworthy and complete biography available.
Book Description
This final volume of the saga of the accursed kings brings the reign of John II to life. Though history remembers him fondly, during John II's reign in the 14th century, France found itself facing a series of threatening problems: struggles between clans, England's intention to take over French territories, soaring inflation, crushing taxes, a crisis in the Church, the bubonic plague, and a king who was committing mistake after incompetent mistake.
Book Description
This volume records a remarkable encounter in critical and philosophical thinking: a meeting of two of the great pioneers in contemporary thought, Maurice Blanchot and Jacques Derrida, who are also bound together by friendship and a complex relation to their own pasts. More than a literary text with critical commentary, it constitutes an event of central significance for contemporary philosophical, literary, and political concerns.
The book consists of The Instant of My Death, a powerful short prose piece by Blanchot, and an extended essay by Derrida that reads it in the context of questions of literature and of bearing witness. Blanchot’s narrative concerns a moment when a young man is brought before a firing squad during World War II and then suddenly finds himself released from his near death. The incident, written in the third person, is suggestively autobiographical—from the title, several remarks in the text, and a letter Blanchot wrote about a similar incident in his own life—but only insofar as it raises questions for Blanchot about what such an experience might mean. The accident of near death becomes, in the instant the man is released, the accident of a life he no longer possesses. The text raises the question of what it means to write about a (non)experience one cannot claim as one’s own, and as such is a text of testimony or witness.
Derrida’s reading of Blanchot links the problem of testimony to the problem of the secret and to the notion of the instant. It thereby provides the elements of a more expansive reassessment of literature, testimony, and truth. In addressing the complex relation between writing and history, Derrida also implicitly reflects on questions concerning the relation between European intellectuals and World War II.
Customer Reviews:
A Derrida Must-Read!!!.......2002-12-24
The first part of the book is a short story by Blanchot and the seond part is Derrida's analysis. Derrida's critique is amazing stuff. He performs a close-reading, line by line. Derrida is one of the greatest thinkers, if not the most thought provoking theorist/critic, of our time.
Book Description
Maurice Blanchot is among the most important twentieth-century French thinkers. Figures such as Bataille, Deleuze, Derrida, and Levinas all draw deeply on his novels and writings on literature and philosophy. In The Dark Gaze, Kevin Hart argues that Blanchot has given us the most persuasive account of what we must give up—whether it be continuity, selfhood, absolute truth, totality, or unity—if God is, indeed, dead. Looking at Blanchot’s oeuvre as a whole, Hart shows that this erstwhile atheist paradoxically had an abiding fascination with mystical experiences and the notion of the sacred.
The result is not a mere introduction to Blanchot but rather a profound reconsideration of how his work figures theologically in some of the major currents of twentieth-century thought. Hart reveals Blanchot to be a thinker devoted to the possibilities of a spiritual life; an atheist who knew both the Old and New Testaments, especially the Hebrew Bible; and a philosopher keenly interested in the relation between art and religion, the nature of mystical experience, the link between writing and the sacred, and the possibilities of leading an ethical life in the absence of God.
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