Edwin Mullhouse

Author: Steven Millhauser
Publisher: Septime Verlag
ISBN: 3903061379
Format: PDF, ePub
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"Edwin Abraham Mullhouse, dessen tragischer Tod um 01:06 Uhr des 1. August 1954 Amerika seines talentiertesten Schriftstellers beraubte, wurde um 01:06 Uhr am 1. August 1943 im schattigen Städtchen Newfield, Connecticut, geboren." Dies ist der Beginn der fiktiven Biografie des Schriftstellers Edwin Mullhouse, der im Alter von zwei Jahren Shakespeare rezitiert und mit zehn seinen von Kritikern hochgelobten Roman verfasst. Mit elf Jahren kommt Edwin auf mysteriöse Weise ums Leben. Jeder Schritt seines kurzen Lebens wurde von Jeffrey Cartwright, selbst ein Kind und Erzähler der Geschichte, dokumentiert. Mit dem Ziel einer perfekten Biografie beschreibt Jeffrey akribisch, fast voyeuristisch, die einzelnen Entwicklungsphasen seines besten Freundes - von den ersten Sprech- Steh- und Gehversuchen über die unglückliche Liebesromanze mit Rose Dorn bis hin zu Edwins Meisterwerk Cartoons. Im Grunde sind Edwin und Jeffrey zwei ganz normale Jungs, die ihre Kindheit in den 40ern und 50ern verbringen, ständig umgeben vom Wandel der Zeit - den Zuckerstangen, den Jahrmarktautomaten, Jeffreys Chemiebau-kasten oder den Geschichten von Charles Dickens, die ihnen Mr. Mullhouse abends vorliest. Wären da nicht noch der in sich gekehrte Edward Penn, der Comics sammelt, schreibt und Edwins Faszination dafür erweckt, oder Arnold Hasselstrom, ein ungehorsamer Junge, der Edwin die Reize des Verbotenen näherbringt ...

Edwin Mullhouse

Author: Jeffrey Cartwright
Publisher: Turtleback Books
ISBN: 9781417719266
Format: PDF, ePub, Docs
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The best friend of a child genius follows the gifted writer's brief career until his death at the age of eleven

Waiting for the End

Author: Earl G. Ingersoll
Publisher: Fairleigh Dickinson Univ Press
ISBN: 9780838641538
Format: PDF, ePub, Mobi
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Waiting for the End examines two dozen contemporary novels within the context of a half century of theorizing about the function of ending in narrative. That theorizing about ending generated a powerful dynamic a quarter-century ago with the advent of feminist criticism of masculinist readings of the role played by ending in fiction. Feminists such as Theresa de Lauretis in 1984 and more famously Susan Winnett in her 1991 PMLA essay, Coming Unstrung, were leading voices in a swelling chorus of theorist pointing out the masculinist bias of ending in narrative. With the entry of feminist readings of ending, it became inevitable that criticism of fiction would become gendered through the recognition of difference transcending a simple binary of female/male to establish a spectrum of masculine to feminine endings, regardless of the sex of the writer. Accordingly, Waiting for the End examines pairs of novels - one pair by Margaret Atwood and one by Ian McEwan - to demonstrate how a writer can offer endings at either end of the gender spectrum.

L puisement du biographique

Author: Vincent Broqua
Publisher: Cambridge Scholars Publishing
ISBN: 1443826294
Format: PDF, ePub, Docs
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Pourquoi penser le biographique? N'est-il pas épuisé? Le siècle passé semble l'avoir vidé de son contenu et de sa substance et l'a réduit à un état d'affaiblissement presque complet dans le domaine des sciences sociales comme dans celui de la critique littéraire. L'enjeu de cet ouvrage est d'affirmer que le biographique déborde la biographie et de considérer le biographique comme une condition du retour de la biographie au moyen de son dépassement. Cet ouvrage rassemble des travaux abordant ...

Understanding Steven Millhauser

Author: Earl G. Ingersoll
Publisher: Univ of South Carolina Press
ISBN: 1611173094
Format: PDF, Mobi
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Earl Ingersoll introduces the fiction of Steven Millhauser, whose distinguished career of more than four decades includes eight books of short fiction and four novels, the latest being the Pulitzer Prize–winning Martin Dressler (1996). In Understanding Steven Millhauser, Ingersoll explores Millhauser’s twelve books chronologically, revealing the development of the thematic interests and narrative strategies of a major contemporary American writer and a master of fiction who cares as deeply about his craft as the modernists did earlier in the past century. While most examinations of an author’s work begin with at least a biographical sketch, Ingersoll has faced distinct challenges because Millhauser has resisted efforts to read his fiction through the lens of his biography. Responding to an interviewer’s request for a brief biography, Millhauser provided the succinct “1943–.” Part of such resistance, Ingersoll argues, arises from Millhauser’s belief that if readers have too many questions about an author’s work, the author has failed and no amount of response can redress that failure. Millhauser’s central characters, such as August Eschenburg and J. Franklin Payne, are often themselves artists or technicians who are “overreachers,” and Ingersoll shows that Millhauser’s early expressions of literary realism have given way to interest in departures from the “real.” For Millhauser, “stories, like conjuring tricks, are invented because history is inadequate to our dreams.” Millhauser’s strength is the ability to sustain obsessions because works of fiction succeed insofar as they are able to supplant reality. As a master fabulist, Ingersoll argues, Millhauser is preoccupied with extravagance both in the subject matter of his fiction and in his style. Whether it is Martin Dressler doing himself in by designing and constructing increasingly complex hotels or the miniaturists in the short story “Cathay” pushing their impulse to extremes, past the eye’s ability to see their art objects, Millhauser’s fiction is full of such an impulse, which can produce prolific artists as well as compulsive lunatics. The triumph of Millhauser’s craft, Ingersoll shows, is that it merges a fascination with the relationship between imagination and experience with a precise and allusive prose to produce works seamlessly joining the everyday with the radical and fantastic, in forms ranging from travelogues of the imagination to works merging the waking world with the world of dreams.

Pretexts of Authority

Author: Kevin Dunn
Publisher: Stanford University Press
ISBN: 9780804722841
Format: PDF, Mobi
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Pretexts of Authority describes the Renaissance rhetoric of authorship and authority by examining the textual locus where this rhetoric appears in its most concentrated and complex form - the preface. In the process, it shows how the notion of authorship changed in a shift of systems of authorization during the Renaissance, a shift that coincides with the roots of the modern public sphere and with the change from religion to science and the public good as the intellectual court of appeal for legitimizing authorship. The author focuses on prefatory materials to kinds of texts that most fully exemplify the problem of self-authorization during the Renaissance. First, he examines Protestant prefaces, notably Luther's preface to his collected works and Milton's antiprelatical tracts. These works stand at the center of a rhetorical crisis; having abrogated the authority of the Catholic church through an appeal to the conscience of the individual, reformers found it necessary to forge a persona that could authorize their discourse without implying an authorizing will independent of God's. At the same time, these texts must attempt to close off means of authorization to potentially proliferating imitators. The second group of prefaces the author examines is to scientific works, notably those of Francis Bacon and Rene Descartes, who faced problems analogous to those of the Protestant reformers in their attempts to set aside Aristotelian authority without seeming to establish a personal authority that interrupts the transparent, impersonal discourse of scientific inquiry. The book argues that in both sets of texts the rhetorical quandary can be resolved only through recourse to the nascent notion of common sense, which allows an author to garner authority from an assumed bond with the audience. Authors no longer need to posit a privileged and suspect relation with the "master texts of Scripture" and the "Book of Nature," but can instead assume the mutual intelligibility of their text. This assumption is seen as the cause of the decline of the full-blown prefatory practice of the Renaissance.

Stimmen in der Nacht

Author: Steven Millhauser
Publisher: Septime Verlag
ISBN: 3903061603
Format: PDF, Docs
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Steven Millhauser ist zweifellos einer der größten Geschichtenerzähler unserer Zeit. In seinem neuesten Storyband Stimmen in der Nacht ergründet er das geheime Leben und die dunklen Sehnsüchte der Bewohner einer Kleinstadt. Mit Referenzen auf Fabeln, Mythen und die Bibel, durchtränkt von subtilem, meisterlichem Humor, verwebt er in sechzehn Erzählungen das Alltägliche mit dem Überraschenden, bekannte Fakten mit berauschenden Fantasien und beschwört so einen schillernden Chor aus Nachtstimmen, der im dunkelsten Winkel unseres Inneren noch lange nachhallt. "Wunderpolitur" etwa ist eine beißende Satire auf die Verlockung der Perfektion, in der sich der vom Leben enttäuschte Protagonist in einen modernen Narziss verwandelt, bis sich sein Wahn überraschend entlädt. In "Meerjungfrauenfieber" wird eine angespülte Meerjungfrau zum willkommenen Ventil für die kollektive Rastlosigkeit, die unter der perfekten Oberfläche einer Kleinstadt brodelt. Der sensationelle Fund weckt Neugier, Hysterie, bizarre Modetrends und macht nicht einmal vor den Schlafzimmern halt. In der titelgebenden Erzählung "Eine Stimme in der Nacht" entfaltet Millhauser wiederum über die alttestamentarische Geschichte des Propheten Samuel ein kunstvolles, dreitausend Jahre umspannendes Triptychon, das der Frage nachgeht, was es bedeutet, auserwählt zu sein und in der Nacht eine Stimme zu hören – und was es bedeutet, sie nicht zu hören.