Word: fictioneers
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Dates: during 1930-1939
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...this portrait, Sergei (like other characters in the book) has more of the Russian character as portrayed by Tolstoy and Dostoevski than of that played up by Soviet fiction. Soviet critics explain that Russians have changed, grown cheerful, hygienic, machine-minded, athletic, non-acquisitive. They That Take the Sword suggests that the Russian character survives more stubbornly than any Soviet official confesses...
...story of this novel is unsparing enough now to disturb most modern readers. Seventy-two years ago it was so shocking it blew its gifted author into literary oblivion. One of the best war stories in U. S. fiction, the first and one of the best realistic portraits of a young American girl, the slyest commentary on the difference in romantic Southern and Northern ways of doing the same thing, it was also one of the greatest failures in U. S. publishing. The book went out of print; the blonde and charming Miss Ravenel was forgotten, along with her dashing...
...magazine, was brought out as a novel, fell flat despite Howells' enthusiastic review. Twenty-one years later De Forest rewrote it, tried unsuccessfully to persuade Harper to bring it out again. At last, prodded by renewed interest in the Civil War, the changed attitudes toward candor in fiction, the publishers have belatedly acknowledged that De Forest and Howells were right, that their predecessors and public opinion had been wrong...
...plain talk of soldiers, his comments on the appallingly dull conversations of people in love, on the mores of the Puritan North and the Cavalier South. Says Yale's Professor Gordon S. Haight, who believes that De Forest's characters are unsurpassed in U. S. fiction: "It was an unfortunate moment to launch a realistic story of the war. At that time the bereaved were looking for comfort in such works as Mrs. Elizabeth Stuart Phelps's The Gates Ajar; and those who still wished to read about battles wanted them tidied up for the drawing room...
Gaunt-faced, peppery Clarence Budington Kelland is a leading professional in the slick-paper magazine school of fiction. Twice as ingenious as most of his rivals, he has two standard plots: 1) streamlined, wisecracking romances, in which a duffer outwises the wise guys, 2) yarns-mostly historical-in which all stops are pulled out to paean the American Way. Arizona, a Civil War yarn published last week, uses Plot...