Tag Archives: fiction/literature

Antihero

“Antihero: A protagonist who lacks traditional heroic virtues and noble qualities and is sometimes inept, cowardly, stupid, or dishonest, yet sensitive. The type is best represented in modern fiction and drama, although it appears as early as 1605, in Don Quixote, James Joyce’s Leopold Bloom in Ulysses, Kingsley Amis’s Jim Dixon in Lucky Jim, and Joseph Heller’s Yossarian in Catch 22 are antiheroes.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Term of Art: Allusion

“Allusion: Usually an implicit reference, perhaps to another work of literature or art, to a person or an event. It is often a kind of appeal to a reader to share some experience with the writer. An allusion may enrich the work by association (q.v.) and give it depth. When using allusions a writer tends to assume an established literary tradition, a body of common knowledge with an audience sharing that tradition and an ability on the part of the audience to ‘pick up’ the reference. The following kinds may be roughly distinguished: (a) a reference to events or people (e.g. there are a number in Dryden’s and Pope’s satires); (b) reference to facts about the author himself (e.g. Shakespeare’s puns on Will; Donne’s puns on Donne, Anne, and Undone; (c) a metaphorical allusion (there are many in T.S. Eliot’s work); an imitative allusion (e.g. Johnson’s to Juvenal in London).”

Excerpted from: Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin, 1992.

Rotten Reviews: The Birthday Party by Harold Pinter

“What all this means only Mr. Pinter knows, for as his characters speak in non-sequiturs, half-gibberish and lunatic ravings, they are unable to explain their actions, thoughts, of feelings. If the author can forget Beckett, Ionesco, and Simpson he may do much better next time.”

Manchester Guardian 1958

Excerpted from: Bernard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

666—The Number of the Beast

“’Saint John saw the beast ‘rise up out of the sea, having seven heads and ten horns, and upon his horns ten crowns, and upon his heads the name of blasphemy,’ which seems to fit temptingly close to the old Phoenician-Canaanite myth of a sea monster Lord of Caos (Yam/Lotan) coming up out of the deep to do battle with a hero god like Baal/Hadad. In amongst the complex imagery of John’s Book of Revelations, some commentators have argued that the seven-headed beast also represents the seven Roman emperors who had been responsible for the degradation of the Temple, the destruction of Jerusalem, and the persecution of Judaism and its heretical offshoot—early Christianity. Counting back from John’s contemporary, Domitian, these seven emperors would be Titus, Vespasian, Nero, Claudius, Caligula, Tiberius, and Augustus.

But it is the 666 number that most resonates, the numerical value John ascribes as the mark of the beast: ‘Here is wisdom. Let him that have understanding count the number of the beast: for it is the number of a man; and his number is six hundred, three-score-and-six.’ This hint at numerological coding allows (with different values given to each letter) that 666 would seem to identify ‘Nero Caesar’ when written in Hebrew (it was Nero who organized the first popular pogrom against the Christians after the great fire of Rome). 666 is also the number created when you list—or add—the first six symbols of the Roman numeral notation together, as in D (500), C (100), L (50), X (10), V (5), and I (1).

In Chinese, 666 is a tonal equivalent for ‘things go smoothly’ and a favored number. It also has an alliance with the roulette table, as the sum of all the numbers on the wheel.”            

Excerpted from: Rogerson, Barnaby. Rogerson’s Book of Numbers: The Culture of Numbers–from 1,001 Nights to the Seven Wonders of the World. New York: Picador, 2013.

Book of Answers: Porgy and Bess

“On what novel is George Gershwin’s opera Porgy and Bess (1935) based? It is based on Porgy (1925), by Du Bose Heyward. Heyward and his wife, Dorothy, won a Pulitzer prize for their dramatic version of the novel. Porgy is a crippled beggar who lives on Catfish Row in Charleston, South Carolina. Bess is his drug-addicted mistress.”

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

Rotten Reviews: Lolita by Vladimir Nabokov

“That a book like this could be written–published here–sold, presumably over the counters, leaves one questioning the ethical and moral standards…there is a place for the exploration of abnormalities that does not lie in the public domain. Any librarian surely will question this for anything but the closed shelves. Any bookseller should be very sure that he knows in advance that he is selling very literate pornography.”

Kirkus Reviews

Excerpted from: Bernard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

Term of Art: Parable

An illustrative moral or religious story, usually brief and with generalized, simple characters and universal human application; telling or cautionary account.

‘I have never read a story better than Endurance, Alfred Lansing’s account of the Shackleton expedition to Antarctica; but no one considers it literature. If Mailer had written it, might we not read the same text as a parable or something or other.’”

Annie Dillard, Living by Fiction

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

Rotten Rejections: Affairs of the Heart by Malcolm Muggeridge

“…the author’s writing deteriorates in a peculiarly striking fashion as he lays about him with him with his satirical club… a very mystifying and unsatisfactory product for the American market.”

Excerpted from: Bernard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

Primo Levi

(1919-1987) Jewish-Italian memoirist, novelist, short-story writer, and poet. Levi was active in the resistance during World War II and was captured and sent to Auschwitz. After the war, he worked for many years as an industrial chemist. His best-known works are Se questo e un uomo (1947; tr If This Is a Man, 1959; U.S. Survival in Auschwitz, 1961) and La tregua (1958; tr The Truce; U.S. The Reawakening, 1963), the first and second volumes of his autobiographical trilogy. Both are Holocaust memoirs distinguished by a combination of compassion and detachment and an extraordinary absence of personal bitterness. A chemist by profession, Levi gained international attention with is final volume of autobiography, Il sistema periodico (1975; tr The Periodic Table, 1984), a brilliant tour de force consisting of twenty-one imaginative pieces, each named after a chemical element robing personal, social and political experiences. After the appearance of The Periodic Table Levi attracted much more attention among English-language readers; several translations of his books have appeared, including Se non ora, quando? (1982; tr If Not Now, When?, 1985), a novel, and The Monkey’s Wrench (1986).”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Term of Art: Anagram

“Anagram: (Greek ‘writing back or anew’) The letters of a word or phrase are transposed to form a new word. For instance, the word ‘Stanhope’ can be turned into the word ‘phaetons.’ A common feature of crosswords. Samuel Butler’s title Erewhon is an anagram of  ‘nowhere.'”

Excerpted from: Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin, 1992.