House of Fiction

The House of Fiction

We' re playing both originals and a complete set of all your favourite R&B/Soul covers. House of Fiction as House of Life: Agencies of the house from Richardson to Woolf. "Henry James, foreword to the portrait of a lady. Haus der Fiktion tells the story of Swinglers search for her father.

House of Fiction, From Pemberley to Brideshead, Great Briton Houses in Literature and Life by Phyllis Richardson

Buildings in the literary world have captivated readers' imagination for hundreds of years, from Gothic palaces to Gothic mansions, Bloomsbury mansions and penthouses. Take a walk through some of the buildings that great English authors used to ponder the subjects of their stories.... Buildings that became personalities, the embodiment of the contemporary trends in society and history.

E.M. Forster's home at Rook's Nest reflects the quaint charms of Howards End. in a mansion or a good prom hall. Horace Walpole's "Little Gothic Castle" in Twickenham was the inspiration for the first English Gothic novel "The Castle of Otranto".

House of Fiction - The New York Times

For the editor: I greatly valued James Wood's sensitive portrayal of Flaubert's techniques (April 16), as I always relish his subtlety. Is Flaubert really the "creator of the novel " with his eyes for vision? There is no mention of his impact, but Flaubert's ambitions "to publish a novel about nothing, a novel that depends on nothing outside that would be kept together by the power of his style" is hardly characteristic of any epoch.

Flaubertian's like Joyce and Nabokov surpassed themselves and transcend their engagement with styles when they found genuine themes, as Flaubert himself did only in "Madame Bovary" and "Sentimental Education". "The House of Fiction, as Henry James once said, has "not a blind spot but a million," and therefore not a single opening gives us entry to what James described as "the necessity of personal visions and the pressures of their will.

Tolstoy's illusory modesty turned the styles into a translucent windows to reality. Kafka's metaphoric fiction and tales turned fiction into a myth or paradox. All of these authors depend on precise clues, but the power of their fiction comes not from the words, the phrases, the metaphor, as would be the case with reviewers like Wood, but from how they realize greater entities of scenery and subject, action and personality.

Approaching fiction primarily through its vocabulary can be deceptive, a better way of studying poems. Thirty-three centuries are full of great authors of novels, from Dreiser, who has written "badly" on a compositional scale, to others who have written elegance, but whose fiction has no life, storytelling power or true experiences.

Demanding authors and reviewers long patronised Dickens as a famous entertainment director, although his stylised figures jumped from the side in a positive way, just as James disparaged the Tolstoy and Dostoevsky books as "loose, puffy monsters" and "liquid puddings". "But James' quest for a stricter technology did not make him the greatest author.

It is part of the ecclectic character of fiction that it accepts inconsistencies and inconsistencies and resists the limitation by it. Flaubert and James attempted to heal his clapdash virtues are part of his opening to the messy and liquid profusion of the very existence itself.

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