Irish Fiction, The Penguin Book of (Penguin Books)

Book Description

An extraordinary and diverse compilation of Ireland's greatest writers from "the best Irish writer of his generation" (The Irish Independent)

The Penguin Book of Irish Fiction represents the entire tradition of Irish fiction in English from Jonathan Swift, born in 1667, to Emma Donoghue, born in 1968. It includes the full text of certain key masterpieces such as Gulliver in Lilliput, Maria Edgeworth's "Castle Rackrent," Joyce's "The Dead," Beckett's "First Love," and John McGahern's "The Country Funeral" and work by almost one hundred writers. It represents, for the first time in one volume, the entire canon of Irish writing and is likely to become the essential book for anyone interested in Irish literature.

"In Irish fiction there are no happy families; there is no novel which ends in a wedding. Instead, the tone is melancholy and the theme is brokenness; the stories and novels (and, indeed, the plays and poems) are full of angry fathers, divided families and an overwhelming sense of loss. Some writers such as Swift, or Sterne, or Joyce, or Beckett sought to replace Ireland with a country all of their own making. Others--such as Bram Stoker or Sheridan Le Fanu--reveled in darkness and chaos and fear. Others, such as OscarWilde and Elizabeth Bowen, tried to get away."--from the Introduction

Customer Reviews:

A Reader in Western Virginia.......2004-07-08

This is an excellent introduction to Irish Literature, to be read through or just sampled. The selections are long enough to help the reader to decide where they'd like to start in a large body of literature. The perfect textbook for Modern Irish Literature 110.

1086 pages of Irish Literature!.......2001-07-08

The Penguin book of Irish Fiction is a fine way to sample a variety of works by Irish writers, ranging from an excerpt of Gullivers Travels by Swift to James Joyce's The Dead. Some short stories are included in their entirety, but most of the novels are excerpted from the originals, which is fine if you just want to sample various writers or decide where to go from here... While planning a trip to Ireland, I found this book to be a good one volume education in Irish Literature. In fact, with 1086 pages of very small print, I doubt I can finish it in time.

Lesbian Short Stories, The Penguin Book of

Average customer rating:

Outstanding anthology for any book collection
Something for everyone
Delving into the Pool of lesbianism

Lesbian Short Stories, The Penguin Book of

Manufacturer: Penguin Books
ProductGroup: Book
Binding: Paperback

Contemporary | General | Literature & Fiction | Subjects | Books

The Penguin Book of Gay Short Stories
A Visitation of Spirits: A Novel
Bushfire: Stories of Lesbian Desire (Lace Publications)
Best Lesbian Love Stories 2003
Chloe Plus Olivia : An Anthology of Lesbian Literature from the 17th Century to the Present

ASIN: 0140240187

Customer Reviews:

Outstanding anthology for any book collection.......2006-09-20

I bought this book for two authors I can not get enough of - Jane Rule and Joan Nestle.

Stories range from coming out , cross dressing, vampires, sci-fi, comic and of course romance.

32 stories from a tremendously diverse collection of authors dating from 1897 to 1993, including the terrific -

Emma Donoghue
Virgina Woolf
Jeanette Winterson
Anais Nin
Ann Bannon
Radclyffe Hall
Dorothy Allison,
Colette
Pat Califia
Isak Dinesen
Sarah Orne Jewett
Renee Vivien
Djuana Barnes
Rebecca Brown
Jewelle Gomez
Margaret Atwood
Anna Livia
Gertrude Stein
Dorothy Strachey

Also includes short-short author biographies and a comprehensive 22 page introduction.

This is a Keeper!

Both covers have their merits!

Something for everyone.......2004-03-08

Whatever you're looking for, it's probably in here. I have returned to this book both when looking for a good read and when writing essays (for example on lesbian modernists): as well as having some wonderful stories spanning a broad range of styles, the introduction is damn good critical stuff and contains some very useful references. Thank goodness they've changed the cover; the previous edition featuring two half-naked women (whom you wouldn't want to run into on a dark evening) was somewhat embarrassing to be seen with at the university library.

As well as enjoying the stories in their own right, I also found they led me to writers I hadn't encountered before. Some of my favourites include the extract from "A Room of One's Own", "Lullaby for my Dyke and her Cat" and "The Secret of Sorrerby Rise" (as well as the introduction to the book, funnily enough); and for all those Alison Bechdel fans out there, rest assured she's in there too.

Delving into the Pool of lesbianism.......2000-01-04

Its the one compilation that has truely touched the humour, the enticing void of what it is to fall in love and what it is like to be ironically a normal lesbian, the pictures are pretty good as well :)

The Good Soldier: A Tale of Passion (Penguin Great Books of the 20th Century)

Average customer rating:

An Ironic Tale
Narrative Extradonaire [30]
Lame.
The good soldier
The Saddest Story

The Good Soldier: A Tale of Passion (Penguin Great Books of the 20th Century)
Ford Madox Ford
Manufacturer: Penguin (Non-Classics)
ProductGroup: Book
Binding: Paperback

Classics | General | Literature & Fiction | Subjects | Books

Contemporary | General | Literature & Fiction | Subjects | Books

Literary | General | Literature & Fiction | Subjects | Books
Similar Items:

To the Lighthouse
Women in Love
Appointment in Samarra: A Novel
A Handful of Dust
A Portrait of the Artist as a Young Man (Penguin Classics)

ASIN: 0140283315

Amazon.com

First published in 1915, Ford Madox Ford's The Good Soldier begins, famously and ominously, "This is the saddest story I have ever heard." The book then proceeds to confute this pronouncement at every turn, exposing a world less sad than pathetic, and more shot through with hypocrisy and deceit than its incredulous narrator, John Dowell, cares to imagine. Somewhat forgotten as a classic, The Good Soldier has been called everything from the consummate novelist's novel to one of the greatest English works of the century. And although its narrative hook--the philandering of an otherwise noble man--no longer shocks, its unerring cadences and doleful inevitabilities proclaim an enduring appeal.

Ford's novel revolves around two couples: Edward Ashburnham--the title's soldier--and his capable if off-putting wife, Leonora; and long-transplanted Americans John and Florence Dowell. The foursome's ostensible amiability, on display as they pass parts of a dozen pre-World War I summers together in Germany, conceals the fissures in each marriage. John is miserably mismatched with the garrulous, cuckolding Florence; and Edward, dashing and sentimental, can't refrain from falling in love with women whose charms exceed Leonora's. Predictably, Edward and Florence conduct their affair, an indiscretion only John seems not to notice. After the deaths of the two lovers, and after Leonora explains much of the truth to John, he recounts the events of their four lives with an extended inflection of outrage. From his retrospective perch, his recollections simmer with a bitter skepticism even as he expresses amazement at how much he overlooked.

Dowell's resigned narration is flawlessly conversational--haphazard, sprawling, lusting for sympathy. He exudes self-preservation even as he alternately condemns and lionizes Edward: "If I had had the courage and the virility and possibly also the physique of Edward Ashburnham I should, I fancy, have done much what he did." Stunningly, Edward's adultery comes to seem not merely excusable, but almost sublime. "Perhaps he could not bear to see a woman and not give her the comfort of his physical attractions," John surmises. Ford's novel deserves its reputation if for no other reason than the elegance with which it divulges hidden lives. --Ben Guterson

Book Description

Ford Madox Ford wrote The Good Soldier, the book on which his reputation most surely rests, in deliberate emulation of the nineteenth-century French novels he so admired. In this way he was able to explore the theme of sexual betrayal and its poisonous after-effects with a psychological intimacy as yet unknown in the English novel.

Customer Reviews:

An Ironic Tale.......2007-07-25

Although this is a classic, I found it to be a hard read. I did not like any of the characters. I found the style intriguing, though convoluted. The narrator admits to telling the story in "a very rambling way." He explains, "One remembers points that one has forgotten and one explains them all the more minutely since one recognizes that one has forgotten to mention them in their proper places . . . ." It is a tale of irony, in which nobody gets what they want: "The things were all there to content everybody; yet everybody has the wrong thing. Perhaps you can make head or tail of it; it is beyond me." It is beyond me, too. Nevertheless, I am glad that I read it.

Narrative Extradonaire [30].......2007-06-26

Although formulaic in concept for early 20th century literature, this book's style separates itself from its peers.

During pre World War I, we meet the British Edward and Leonora Ashburnham and American Florence and John Dowell. As though it was a Fitzgerald novel -- the American couple resides in luxury, in Europe, the woman is talkative but fragile, and there is something brewing among the comrades -- it is definately somethin different. Although the same plot could be used and written by Waugh, Forster or maybe Woolf, it definitely is not their novel.

Unlike Waugh, unlike Fitzgerald or unlike all of the others, this book is light, very light, on dialogue. Instead, it is mostly a narrative by Mr. Dowell about the descent of his wife, of his best friend Edward and his love of life, Nancy Rufford.

Because it is a recantation of events, there are passages which repeat what was just previously read, but somehow the style (disjointed in a manner which narrative story telling would have to be) works. Oh, and how it works majestically as it passes in and out of time and through and around events so that the picture is delivered to you like a focus of a camera lens. This is not a temporal chronological recitation of what happened. The author circles us in and out of what he calls "the Saddest Story. . . because there was no current to draw things along to a swift and inevitable end." And in this sad story, "There is not even a villain in the story . . ." Reeling in and out of the sadness, it is an abstract-like collage, much like what his contemporary artists would depict with paint. This story surreally depicts Ashburnham's demise. And, the demise of those about him.

True to its form, it starts sad and ends sadder. Split into four parts, three parts end with tragic deaths (two in suicide and one perceived to be a suicide) and one ends with the acknowledgment of a failed marriage. Do not expect even one laugh from this novel.

I have not read anything by a living author which mirrors the style of this book. For that reason alone, I would recommend this novel. And, it is a classic - through and through.

I would also recommend getting a copy of Knopf's Everyman's Library edition with the edifying and insightful introduction by Alan Judd and Max Saunders. Much of Ford's life resembles one of the characters. If you get the Knopf edition, you will know why, and a lot more.

Lame........2007-03-12

This book is written by an annoying, weak man. The formal innovations are vaguley interesting, but in any case do not rescue the work from its primary deficit: you must sit there for several hours with the voice of a neurotic chatty little wimp who reminds one of a certain kind of homosexual man streaming through your mind, mostly in the form of digressions and non-sequitors. This is neither entertaining nor enlightening, and since it's the product of design it is actually a little infuriating. I too listen with good faith to the academic hierarchy present and past for recommendations, and I had in my version the hitherto utterly reliable Frank Kermode as Introducer; but damn, this book - its characters, its plots, its language, its taxing convolusions - is just annoying. Its only virtue is that reading it might raise awareness that vaguely condescending moralistic little works like this about unheroic, petty, neurotic, sordid, idle, superficially cosmopolitan people are a mistake to begin with, and - since we all have only 70 or 80 years on earth and aren't all compulsive aesthetes - time would be better spent elsewhere. There is nothing of the hard Sophoclean light here.

The good soldier.......2007-02-20

I know that I will outrage alot of people with this review but here goes... This is one of only 2 books that I have ever read that I truly REGRET devoting the time to , but once I start a book I always finish.I don't know what else to say except that it was painful for me to finish this. I just don't get it. The main character was quite annoying to me and the story was SO SLOW and predictable I really just wanted it to end. I would not recommend this book for fun and if it is required reading for you I am sorry.

The Saddest Story.......2006-12-13

I think this is the first novel I've ever read twice. It's an odd choice for that, as it's not my favorite. I read it in college at the recommendation of my creative writing professor, who thought it might be helpful in structuring a story on which I was working. And the structure, more than anything, is the most innovative part of the book. An example of literary impressionism, the narrator paints the story with small brush strokes, a scene here and there, out of order, from different perspectives. He examines each character individually, because it is more about the characters and their motivations than it is about the plot. It is left to the reader to put the pieces together--the narrator gives more of an impression than a complete picture.

But THE GOOD SOLDIER is #30 on The Modern Library's top novels of the 20th century, which means that it must have more than just structure. I have to admit that, until I got to the very end, both times I read the book, I wondered what the allure was. The book's first sentence is "This is the saddest story I have ever heard." But throughout, I kept getting the feeling that it was little more than a jumbled romantic melodrama. The characters are all flawed in ways that makes them real but not particularly likable. They are all extremely well off, which makes their dismal state even more frustrating--these people have everything--Why aren't they happy? But then in the end, somehow--and maybe it's just the last few pages that do it--I realize that these characters are great. Particularly Edward Ashburnham, the soldier of the book's title, is a very likable character. And we're almost willing to overlook his one vice--his womanizing--partly because he's such a sentimentalist but mostly because his wife is such a wretch, the only truly wicked character in the book.

As for the plot, it's almost not worth detailing. As I said, it's more about the characters and how the plot is structured than the plot itself. There are five principle characters: Edward and Leonora Ashburnham, John and Florence Dowell, and Nancy Rufford. Two commit suicide, one goes crazy, and the other two suffer perhaps the worse fate of living completely plain, boring, lonely lives. In the end, it is a very sad story, if for no other reason than that most of it is so unnecessary--with the exception of Leornora, any of these people could have lived happy lives if it weren't for each other.

Average customer rating:

Rafael Juan Pascual Hernández on Michael Alexander's edition of "Beowulf"
Ian Myles Slater on: The Text Edition, Not the Audio
The Real Deal!
One of teh greatest English poem of all times
A study of the language

Beowulf (Penguin Classics)
Anonymous , and David Rintoul
Manufacturer: Penguin Audio
ProductGroup: Book
Binding: Audio Cassette

General | Books on Cassette | Audiobooks | Formats | Books

Contemporary | General | Literature & Fiction | Subjects | Books

Anthologies | Poetry | Literature & Fiction | Subjects | Books

General | Poetry | Literature & Fiction | Subjects | Books

Beowulf: A Verse Translation (Penguin Classics)
Old English Grammar and Reader
A Guide to Old English
A Concise Anglo-Saxon dictionary (MART: The Medieval Academy Reprints for Teaching)
Anglo-Saxon Poetry (Everyman's Library (Paper))

ASIN: 0140862781

Customer Reviews:

Rafael Juan Pascual Hernández on Michael Alexander's edition of "Beowulf".......2007-06-06

Being English today's 'lingua franca', it is necessary, or at least highly convenient and profitable, to know its history. Of course, it implies the study of the language at its earliest and more interesting stage: the Old English period - the English spoken by the Anglo-Saxons. And being literature a very appropriate way to approach a language, I do recommend the reading of the epic and elegiac poem "Beowulf".
This edition, by Michael Alexander (Penguin Classics, first published 1995), presents the text in the original, with a very complete glossary in every page which offers a translation of the most difficult words. Moreover, there is a very attractive introduction, an editorial preface and some notes on the metre: everything to get an accurate and full vision of the whole poem.
If you get "Beowulf: A Verse Translation", by the same author, along with this volume, you can consider yourself a lucky reader.
Beowulf: A Verse Translation (Penguin Classics)

Rafael Juan Pascual Hernández.
rjph@correo.ugr.es

Ian Myles Slater on: The Text Edition, Not the Audio.......2004-12-29

Amazon has linked, as equivalent editions, and for reviews, two entirely distinct products. One is a recording of David Rintoul reading a translation of "Beowulf" into modern English -- presumably Michael Alexander's "Beowulf: A Verse Translation" in the Penguin Classics series. It has been linked to a separate volume in the Penguin Classics series, Michael Alexander's *edition* of the Old English (Anglo-Saxon) *text* of the early medieval poem. (I won't be more specific; pick a date after about 750 and before about 1020, you'll find a backer.)

Since Old English is a language about as different from Modern English as the latter is from, say, German, you are going to have to be careful to figure out exactly which item the reviewers are talking about -- if they get that specific. Detailed appreciations of "Beowulf" do not constitute, to my mind, a review of any particular edition, translation, or recorded reading. (Even when I agree with them; a great poem.)

Michael Alexander's text edition offers something unusual, in both the Penguin Classics series and among "Beowulf editions." It is conservatively edited -- that is, it uses consensus readings from recent critical and student editions, with no original departures in the way of conjectural emendations, etc. But instead of either a dictionary-style glossary OR a facing translation, he offers word by word glosses to each line on the page facing the Old English text. The words there are not given in the inflected or conjugated forms in which they appear in the text, but as a dictionary-style head-words. For example, in line 1590, the word "becearf" is identified by the infinitive, "beceorfan," meaning "cut off."

This is actually quite convenient for a student working with a basic textbook, more so than a conventional glossary or dictionary; instead of remembering sound-laws to find the base form, *before* looking it up, you can check your recollection against a grammatical table, or, for the some of the odder "strong" verbs, look it up to identify the type, and then work out the details. (If you haven't studied Old English, or German, trust me; that would mean a lot to you.) Additionally, for fairly long stretches, it is possible to make out a good deal of sense with just the raw vocabulary -- although hardly enough to get a real sense of the poem.

For some passages, Alexander offers footnoted translations of sentences; usually giving his solution to recognized difficulties, where the syntax is exceptionally tangled, or the train of thought depends on ideas obscure to modern readers. Although the main text does not offer information on how Alexander arrived at his readings, or suggest alternatives, there is an eleven-page list of "Manuscript Readings' indicating where unintelligible, broken, or missing words have been emended or supplemented.

This is not a substitute for a fuller introductory edition, like George Jack's "Beowulf: A Student Edition" (1994; one of Alexander's sources, with similar glosses, in this case supplementing a formal glossary). And it certainly doesn't compare to Robinson and Mitchell's more comprehensive "Beowulf: An Edition With Relevant Shorter Texts" (1998), the successive revisions of Wrenn's text by Michael Bolton (fifth edition, 1997 ) or Friedrich Klaeber's venerable but invaluable "Beowulf: and The Fight at Finnsburg" (third edition, 1936; with supplements 1941, 1950). But it is not intended to be.

In conjunction with a good textbook on the language, it would make a fine entry into the poem, in place of the very limited excerpts from the 3182-line poem usually given in a "Grammar and Reader."

And for those who have studied the poem in the original, it is a pleasant, and easily-handled refresher, without the constant presence of an "authoritative" voice, as in the bilingual editions of Seamus Heaney's celebrated recent translation (itself rather too literary for this purpose, actually), or Chickering's older "Beowulf: A Dual Language Edition."

The Real Deal!.......2004-11-05

Beowulf is the longest and oldest Germanic Epic that has survived. Our vision of the Ancient Germanic world is coloured by the Icelandic prose writers of the 13th and 14th Centuries: at a time when Old Germanic culture was dissolving into the Feudal Era. With a composition date of around 800 A.D. this national poem of the Saxons takes us back much further than the sagas do; other than a few stuck-on references to God, the whole thing is entirely pagan Germanic. It is a real miracle that this epic has survived for us! We too can enter the word-world of the old Saxon warriors. The best way to do this is of course to read the real thing: i.e. the epic poem in Anglo-Saxon. This heavily glossed edition allows you to do just that! You will need to know a few other things though, such as declensions and conjugations, but they are easily learnt: '-a' is genitive plural, and '-um' is dative plural; '-on' is the past plural ending (so, 'writ-on' means 'they wrote'). The rest of the grammar is more or less like that of Shakespeare. About 67% of the words in the epic are still used in modern English, so you'll be able to de-modernize your language very quickly! Pick up your 'bill ond byrnum' and go to battle standing beside your ancient ancestors!

One of teh greatest English poem of all times.......2004-01-22

Beowulf is a masterpiece of English literature, the mastermind of all the authors, playwrights, and many other artists coming after it. The language is rather difficult because it is Anglosaxon. But the book gives systematic notes about the words, and only the words, of the poems. Some of these notes are vague if not faultive. One example : page 51, the word « eorl » is given as meaning « man » on line 761 et « warrior » on line 769, without any more ado. We do regret that these lexical notes are not collected into a lexicon, which would save many repetitions and make it easier to find the word one is looking for. We also regret that there are no notes about the « grammar », « morphology » or « syntax » of Anglosaxon. We thus miss a lot, for example the feminine, masculine and neuter genders, and this is absolutely essential. One example : « Beowulf » is the association of the feminine « beo » meaning « bee » and the masculine « wulf » meaning « wolf ». Yet one can, if one has a good lexicon or dictionary and a good « grammar » of Anglosaxon, get into these subtleties. And then the poem is remarkably beautiful. I am not going to insist on the mirror it is for the christianizing of the old scandinavian, germanic and probably celtic mythology. This is not commonly studied, but I would like to insist on another element : the structure of the poem. The very first part is absolutely typical of the old culture : Beowulf goes out against some monsters who have survived from a very old period, a very old race (the giants who have been locked up in some mountain by the Gods of this religion), and he conquers glory and fame. There is no « fate » in this section, or very little. Beowulf is a young « adventurer » who blazes his trail through the world and history. Then there is a long transition from this glorious age to old age and death and there a new discourse appears and builds itself in the poem : man has to assume some fate that comes from God. Man has to stand up in front of his fate, no matter what it may bring, because it is his divine dimension that demands it. This is both Christian and germanic. So Beowulf is courageous and tries to bring good living conditions to his people because that is his responsibility in front of God, be he the Christian God or Odin, or the « weird sisters » of Shakespeare, the three Norns, Urd, Vervandi and Skuld. But the last part goes beyond this rather non-defined transition. Beowulf has to fight again against a monster, this time a dragon. This fight is Christian in many ways because the dragon is a reference to the « Book of Revelations », or Daniel's dragon Bel. It is Christian because Beowulf will give the order to bury forever the hoard of this dragon for two reasons : men are not supposed to be greedy any more, and this hoard comes from very old periods of human history and represents the culture of these old centuries. Greed is a capital sin and these old centuries have to be rejected, along with their culture and religion. But, yet, Beowulf is a man who carries the culture of past ages and his burial is typically that of a hero of the past : the pyre, the cremation, though not with a woman, wife or servant or slave, or any other human being who would sacrifice him/herself or be sacrificed to the dead man ; the twelve children going around the tomb represent the twelve rune, Eoh or Eihwaz, the yew tree, a symbol of death in germanic culture, a symbol of Odin's final battle, the Ragnarok, the end of the world, brought down by a general war among all human races and gods alike, with maybe the promise of a regeneration. This death is a tremendous mixing of Christian and Germanic beliefs, though this death is christianized in its perspective : to bring peace to the world, to reject greed, to look for a regeneration of the soul, to believe that man can improve. And yet it is the negation of the « Thing » political system of this culture : the king, who should be elected by the people, is here designated if not appointed by the dying king, Beowulf, in the face of death and God. This is in a way a justification of God-anointed kingship, hence the shift from the old germanic « Thing » democracy to a feudal God-appointed kingship. That poem is definitely one of the most powerful and important poems of English culture. It should be studied in depth by all students or scholars who want to understand anything about the English mind ; even today and probably tomorrow.

Dr Jacques COULARDEAU

A study of the language.......2001-12-02

This is an excellent book for those who wish to study the original language, and Anglo-Saxon verse. The editor does not include a lot of distracting material, nor are there deep discussions of the theological, allegorical, sociological, etc etc, implications of the poem.

Instead, what you have is a book which has the original text on the left pages, and glosses on right pages. Not 100% of the words are glossed, such as "and". The glosses are all standardized as nom. singular nouns and inf. verbs. This means that the reader should know, or perhaps will learn from reading, the grammar of the language.

A lot of people seem to know about Beowulf, but have no clue what it is. A lot people also consider Old English to be some quaint "high mode" of english, spoken by Knights in Shining Armor.

Some are "forced" to study the poem, in school. And there are those who want to study the poem, for whateve reason.

Book Description

Beginning with an exquisite love story-an ancient saga retold by Lady Gregory-and continuing with George Moore and the birth of the modern short story at the turn of the century, this highly representative collection includes both classic writers and contemporaries. It features the work of such preeminent literary figures as James Joyce, Sean O'Faolain, Mary Lavin, Frank O'Connor, and Liam O'Flaherty, whose work re-established the tradition of the short story; it concludes with more recent exponents of the form, all of them highly acclaimed, including Elizabeth Bowen, William Trevor, and Edna O'Brien.

Average customer rating:

The Penguin Book of Irish Verse

Manufacturer: Penguin Classics
ProductGroup: Book
Binding: Paperback

Contemporary | General | Literature & Fiction | Subjects | Books

General | Poetry | Literature & Fiction | Subjects | Books

The Penguin Book of New Zealand Verse (The Penguin Poets)

Average customer rating:

The Penguin Book of New Zealand Verse (The Penguin Poets)
Various
Manufacturer: Penguin (Non-Classics)
ProductGroup: Book
Binding: Paperback

Contemporary | General | Literature & Fiction | Subjects | Books

General | Poetry | Literature & Fiction | Subjects | Books

Average customer rating:

Young Lonigan (Penguin books)
James T Farrell
Manufacturer: Penguin Books, Inc
ProductGroup: Book
Binding: Unknown Binding

The House on Mango Street
The Rise of David Levinsky (Penguin Classics)
The Culture of Spontaneity: Improvisation and the Arts in Postwar America
Jasmine
Native Son

ASIN: B00086EA52

Book Description

It's a story about coming-of-age and sexual awakening in the mean streets of 1910s Chicago. It's the beginning of a trilogy that will follow Studs Lonigan throughout adolescence. And, claims Arthur Schlesinger, Jr, it reveals "his vision of the truth-the truth about people, the truth about writing, the truth about America."

Average customer rating:

Book of Irish Folk Tales

Manufacturer: Penguin UK
ProductGroup: Book
Binding: Paperback

Contemporary | General | Literature & Fiction | Subjects | Books
ASIN: 0140276076

Books:

Books Index

Books Home

Recommended Books