Thomas Hardy and History; The Novels of Thomas Hardy: Illusion and Reality; Joseph Conrad: The Modern Imagination; Conrad's Romanticism; Malcolm Lowry: His Art and Early Life; The Protean Self: Dramatic Action in Contemporary Fiction

1975 ◽  
Vol 24 (118) ◽  
pp. 23-25
Author(s):  
T. Rogers
Author(s):  
Catherine Rainwater

Ellen Glasgow (b. 1873–d. 1945) was born in Richmond, Virginia. She enjoyed a career spanning nearly half a century as the author of poetry, short stories, novels, and nonfiction. The majority of her nineteen novels are set in Virginia, where she grew up as the ninth of ten children born to a severe, Calvinist father and a mild-mannered, Episcopalian mother who died when Ellen was twenty. A variety of emotional and intellectual conflicts traceable back to childhood trauma, especially the untimely loss of her mother, are reflected in her writing. At twenty Glasgow also began to suffer from hearing loss; from then on increasing deafness interfered with her social life. As a young child Glasgow refused to attend school owing to shyness, but she became impressively self-educated and was a voluminous reader. Her first novel, The Descendant (1897), examines political and philosophical issues that engaged her throughout her life. Although she wrote about the South, she objected vigorously to being labeled a regionalist. Repeatedly, she sought recognition as a modernist, and indeed her works explore epistemological questions concerning personal identity, history, and artistic expression from a markedly 20th-century perspective. Among writers she most admired were Joseph Conrad and Thomas Hardy. With Hardy she shared a great compassion for animals that is reflected in her fiction. For twenty years she served as president of the Richmond Society for the Prevention of Cruelty to Animals. Her best-known novels are Virginia (1913), Barren Ground (1925), The Sheltered Life (1932), and Vein of Iron (1935). She also published a collection of poems, a volume of short stories, an autobiography (The Woman Within, 1954), a book of literary critical statements, and miscellaneous nonfiction pieces in newspapers and magazines. Glasgow traveled widely throughout her life, but she always returned to her family home at 1 West Main, where she did most of her writing. Her house—restored and maintained to appear as it did when she lived there—is open to visitors in Richmond. Founded in Richmond in 1974, the Ellen Glasgow Society has maintained steady membership that includes both academics and a lay readership.


1975 ◽  
Vol 70 (3) ◽  
pp. 619
Author(s):  
Frank Kermode ◽  
Alan Kennedy ◽  
Peter Kemp

Author(s):  
Emma Simone

This chapter examines the most convincing affinities in terms of Woolf and Heidegger’s understandings of Being-in-the-world. Drawing attention to Woolf and Heidegger’s respective notions of ‘moments of Being’ and ‘moments of vision’, the ways in which such moments are triggered by particular moods that are experienced by the individual are discussed. Disrupting the individual’s everyday inauthentic immersion in the preoccupations and prescriptions of the present, such moments provide the potential for the disclosure of the typically concealed extraordinary nature of the ordinary. This chapter begins with a discussion of the significance and history of the literary epiphany, and draws attention to the influence of precursors such as Thomas Hardy, Joseph Conrad and William Wordsworth upon Woolf’s writings. In the second section, attention is directed to a number of Heideggerian notions – including ‘anxiety’, ‘nothingness’, ‘boredom’, ‘wonder’ and the ‘numinous’ – in terms of their relations to the Woolfian ‘moment’.


Author(s):  
Antony Rowland

This chapter looks at the relationship between Tony Harrison’s work and the legacies of modernism. In the dominant version of Harrison’s relationship with modernism, the poet undergoes a ‘Eureka’ moment akin to Philip Larkin’s repudiation of Yeats when the Leeds poet begins to write The School of Eloquence sequence: switching to the example of Thomas Hardy, Larkin no longer wished, he contested, to ‘jack himself up’ into poetry, just as Harrison desires to be the poet that ‘blokes in the boozer’ might read. However, as with Larkin’s deployment of symbolist verse and references to T. S. Eliot in his later poetry, Harrison’s work does not simply repudiate modernism either. Harrison’s apparently antipathetic response to modernist literature seems to be encapsulated in Desmond Graham’s chapter on Harrison’s early poetry, in which he depicts the Leeds poet at Poetry and Audience editorial meetings, mimicking Eliot’s voice and demeanour. Yet the poetry tells a different story. In his first full collection, The Loiners, Harrison engages with a number of modernist antecedents, including Arthur Rimbaud, Joseph Conrad and Charles Baudelaire. This chapter then focuses on the modernist ‘double consciousness’ of myth that Harrison then draws on, and refines, throughout his oeuvre. Writers such as James Joyce and T.S. Eliot were the first authors to herald an intensification of writing about myth that fictionalises mythic characters rather than retaining them as symbols and narrative ballast. I explore how Harrison utilises this ‘double consciousness’ in his film-poem Metamorpheus and in the poem ‘The Grilling’ from Under the Clock.


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