Peter De Vries and Surrealism

Voorkant
Bucknell University Press, 1995 - 240 pagina's
"Peter De Vries and Surrealism rereads De Vries in the light of surrealism and argues that the novelist and poet devised a new comic form, surrealist farce." "De Vries's style and narrative technique are often surrealistic, and he mentions surrealism and surrealists in all but two of his twenty-six books. Yet, in fifty years of commentary on De Vries, scarcely any notice has been taken of these surrealist elements. This study moves from literary biography and historiography, which establish De Vries's points of contact with surrealism, through textual analysis, which traces De Vries's working through modernism toward surrealism in his early writing, to a consideration of De Vries's mature works that takes into account their surrealist aspects and allusions." "Peter De Vries is not the Calvinist-in-spite-of-himself that he has sometimes been labeled. Writing in what Constance Rourke called "the extravagant vein in American humor," De Vries offers us what Thoreau called the "wild," Andre Breton the "marvelous." His mercurial writings accord not with any dogma, but with Kenneth Bruce's "conviction that mankind's only hope is a cult of comedy.""--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
 

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Inhoudsopgave

Introduction
15
The Literary Life of Peter De Vries
26
Peter De Vries and 1930s Surrealism
60
A Reading of But Who Wakes the Bugler?
87
Surrealizations The Unofficial Career of Peter De Vries
131
In The Extravagant Vein in American Humor
166
Notes
184
Works Cited
214
Index
229
Copyright

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Populaire passages

Pagina 6 - I fear chiefly lest my expression may not be extra-vagant enough, may not wander far enough beyond the narrow limits of my daily experience, so as to be adequate to the truth of which I have been convinced.
Pagina 19 - In literature it is only the wild that attracts us. Dullness is only another name for lameness. It is the untamed, uncivilized, free and wild thinking in Hamlet, in the Iliad, and in all the scriptures and mythologies that delights us, — not learned in the schools, not refined and polished by art. A truly good book is something as wildly natural and primitive...

Over de auteur (1995)

Dan Campion is a visiting assistant professor of English at the University of Iowa.

Bibliografische gegevens