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Richard Yates, who died in 1992, is today ranked by many readers, scholars, and critics alongside such titans of modern American fiction as Updike, Roth, Irving, Vonnegut, and Mailer. In this work, he offers a spare and autumnal novel about a New England prep school. At once a meditation on the twilight of youth and an examination of America's entry into World War II, A Good School tells the stories of William Grove, the quiet boy who becomes an editor of the school newspaper; Jack Draper, a crippled chemistry teacher; and Edith Stone, the schoolmaster's young daughter, who falls in love with most celebrated boy in the class of 1943.
The stories in Liars in Love are concerned with troubled relations and the elusive nature of truth. Whether it be in the depiction of the complications of divorced families, grown-up daughters, estranged sisters, office friendships or fleeting love affairs, the pieces in this collection showcase Richard Yates's extraordinary gift for observation and his understanding of human frailty.
This work addresses Yeats's "antinomies", seeing their origin and structure in his divided Anglo-Irish inheritance and examining the notion of measure. It then explores how this relates to freemasonry, Celticism and Orientalism and looks at the Blakean esoteric language of contrariety and outline which provided Yeats with the vocabulary of self-understanding.
Richard Yates was acclaimed as one of the most powerful, compassionate and accomplished writers of America's post-war generation. Whether addressing the smothered desire of suburban housewives, the white-collar despair of Manhattan office workers or the heartbreak of a single mother with artistic pretensions, Yates ruthlessly examines the hopes and disappointments of ordinary people with empathy and humour.
Even as little girls, Sarah and Emily are very different from each other. Emily looks up to her wiser and more stable older sister and is jealous of her relationship with their absent father, and later her seemingly golden marriage. The path she chooses for herself is less safe and conventional and her love affairs never really satisfy her. Although the bond between them endures, gradually the distance between the two women grows, until a tragic event throws their relationship into focus one last time.
The fundamental difference between rhetoric and poetry, according to Yeats, is that rhetoric is the expression of ones quarrels with others while poetry is the expression of ones quarrel with oneself. Through exquisite attention to outer and inner forms, Vendler explores the most inventive reaches of the poets mind.
Poetry has often been considered an irrational genre, more expressive than logical, more meditative than given to coherent argument. And yet, in each of the four very different poets she considers here, Helen Vendler reveals a style of thinking in operation; although they may prefer different means, she argues, all poets of any value are thinkers. The four poets taken up in this volume--Alexander Pope, Walt Whitman, Emily Dickinson, and William Butler Yeats--come from three centuries and three nations, and their styles of thinking are characteristically idiosyncratic. Vendler shows us Pope performing as a satiric miniaturizer, remaking in verse the form of the essay, Whitman writing as a poe...
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