Word: gide
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...that if you got the writer's public face and knew what he ate for breakfast, you could understand his books. But this overlooked the whole creative temperament or psyche that appears when the author begins to write the book." Guerard's own literary criticism of authors such as Gide, Conrad, and Hardy is largely an extension of this interest in the psychology of composition...
...this time being an old maid's hatred of her father and the responsibility of caring for him. The story is not very complex, not, in fact, as complex as her previously published ghoulish stories. From the first, one knows the inevitable result of her plot, but, as in Gide's Immoralist, this element of inexorability adds in power what it takes away in dramatic tension. Miss Budlong uses her details well and her narrative is clear, with the exception of an unintentionally misleading last paragraph...
...Please do not understand me too quickly," warns Author Mailer by way of a tag (from André Gide). There is not much to understand in this narrative about the life of the West Coast's film fauna: the prose and the sex are as thick as ever. This seemed forgivable in The Naked and the Dead; the boys in a jungle combat platoon ("Kinsey's Army," as one British reviewer called it) were not supposed to talk like lady members of a book club. But in The Deer Park (the title is taken from a huge private...
Camus pushes these questions up the fashionable modern Parnassus-inhabited by Dostoevsky, Kafka, Gide, and all manner of existentialists. In the end, a little existentialist moss clings to his rolling stone, and Camus achieves his answer: "Crushing truths perish by being acknowledged . . . There is no fate that cannot be surmounted by scorn." Sisyphus has achieved "a total absence of hope (which has nothing to do with despair)." Rope or Cravat? While it is no news, of course, that French intellectuals of the Left have left the church, a lot of people will wish that they would stop arguing so noisily...
...America his vast popularity had waned, and critics were finding his later work "disappointing." He had been praised as one of the "world's great literary figures." But such evaluations are for posterity, which would judge Mann against his world contemporaries: Kipling, Conrad, Gorky, Gide, Joyce, Henry James, Shaw, Galsworthy, d'Annunzio. Mann himself was sensitively aware that one enters this hall of fame treading lightly. "There has been far too much talk about me," he wrote in 1951, adding: "It is not without a measure of embarrassment and dis may . . . that I note . . . that some people judge...