By John Updike
WINNER OF THE nationwide ebook CRITICS CIRCLE AWARD
"Writing feedback is to writing fiction and poetry as hugging the shore is to crusing within the open sea," writes John Updike in his Foreword to this number of literary issues. however the sailor doth protest an excessive amount of: This assortment starts off someplace close to deep water, with a flotilla of brief fiction, humor items, and private essays, or even the least of the reports here--those that "come approximately and draw even towards the land with one other nine-point quotation"--are unique by means of a novelist's kind, perception, and accuracy, not only floor sparkle. certainly, as James Atlas commented, the main vast serious articles, on Melville, Hawthorne, and Whitman, exit so far as Updike's fiction: they're "the kind of bold scholarly reappraisal no longer visible during this nation because the demise of Edmund Wilson." With Hugging the Shore, Michiko Kakutani wrote, Updike proven himself "as an incredible and enduring serious voice; certainly, because the pre-eminent critic of his generation."
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Extra resources for Hugging the Shore: Essays and Criticism
A Philosophical Reader, ed. Rolf Tiedemann (Stanford: Stanford University Press, 2003), 244. 49. The tension between purity and commitment is the subject of in-depth studies such as Anthony Leo Geist’s La poética de la generación del 27 y las revistas literarias: De la vanguardia al compromiso (1918–1936) [The Poetic Generation of 27 and the Literary Reviews: From the Avant-Garde to Social Commitment (1918–1936)] (Madrid: Guadarrama, 1980), and Juan Cano Ballesta’s La poesía española entre pureza y revolución [Spanish Poetry between Purity and Revolution] (Madrid: Gredos, 1972).
20 Introduction: Foundations for a Dissident Surrealism 17. Derek Harris, Metal Butterflies and Poisonous Lights, 12–13. 18. In using the term “subject” throughout this book I refer to the speaker, personage, or character in Lorca’s poetry and drama. ’” It is both difficult and reductive to equivalate these textual subjects to representations of Lorca himself, although many aspects of the poet’s biography certainly find their way into his poetry and inform his aesthetics of anguish. That said, the present study is most interested in how Lorca frames these subjectivities of desire and anguish in his poetry and drama, not in how they may or may not correlate with particular facets of the poet’s reality, sexuality, relationships, or biography.
The decadent drives that seek to “bring things down” are a prominent focus in the cultural and artistic artifacts treated in Documents, which include an article titled “Eye” wherein Bataille celebrates the violent termination of vision in Buñuel and Dalí’s 1929 film Un chien andalou [An Andalusian Dog]. Drawing attention to the manner in which “horror becomes fascinating, and how it alone is brutal enough to break everything that stifles,” 28 Bataille’s thinking finds a revolutionary kinship with Dalí’s paintings, which at times were far too disturbing for Breton.