Word: pritchett
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...Pritchett's expose of James Joyce [Feb. 13] has been long overdue. Joyce was an anti-intellectual. His crime was to unseat reason from its throne. The role of the intellect is to reduce the chaos of the subconscious, and of the stream of consciousness, to order. To surrender that function and retreat to chaos is treason against man himself and the God who endowed him with intellect and will...
...sacred object. Anyone admitting dislike or incomprehension of it is almost automatically drummed out of any self-respecting literary regiment. Now, writing in the New Statesman and Nation, one of the best critics on either side of the Atlan tic has reassessed Ulysses. Says Britain's V. S. Pritchett...
...Critic Pritchett concedes that Joyce had humor and "the imagination to turn his squalid people into giants first. No one can say that the characters of Ulysses are trivial in dimension, even though their preoccupations are mean, food-stained, dreary and unelevating. His people are Celtic monsters, encumbered by the squalor of their enormous burden of fleshly life-enormous because it is so detailed-and the dreadful, slow, image-spawning of their literal minds . . . One can see that, in Joyce's imitators, the interior monologue was a blow for democracy, a rather dreary one; the fact that...
...conscience of his generation," British Critic V. S. Pritchett called Brit ish Novelist George Orwell (who died in 1950). Orwell was a maverick radical who attacked his old friends of the left with as much ferocity as new, would-be friends of the right. In the U.S., he is best known for Animal Farm, the best anti-Communist satire yet written, and that nightmare about Big Brother, Nineteen Eighty-Four. Keep the Aspidistra Flying-which appeared in England in 1936 but has never before been published in the U.S., is a sharply satirical attack on the left-wing intellectuals...
...Pritchett that she is "the most original novelist now writing in English." Author Compton-Buinett is old-fashioned only in the sense that she writes out of a past in which the center of life is still the big family household-including servants, "companions." nurseries, long corridors, enormous rooms. But her characters are no more untrue to life for this than Oedipus would be for driving around in an automobile instead of a chariot. In Mother & Son, middle-aged Rosebery is in just the same fix as Oedipus: he cannot escape from life with mother. Aged Miranda is seeking...