Growing up on a small farm in southern Ohio, I was the first generation of my family to attend both high school and college. Literature, reading it, talking about it, studying it, was my entry into a world of larger possibilities than my family’s somewhat straitened circumstances had allowed me. Faulkner attracted me because the rural enclave in which we lived, and my neighbors, resembled locales and characters in his fiction. Shakespeare attracted me for many reasons, most notably the beauty of his language and the ability of his plays to reveal new meanings as my life experiences changed.
It explores the moral and ethical dilemmas that characters face, both inside themselves and in their interactions with others, in works by these famed authors. The book’s six chapters—three on each writer—originate in my history as a teacher and published scholar. They focus on Shakespeare’s Measure for Measure, Othello, and Macbeth and on Faulkner’s Sound and the Fury, Absalom, Absalom!, Light in August, and Intruder in the Dust.
The book speaks to the power of literature as a form of pleasure and of solace. It affirms the centrality of storytelling to human beings’ efforts to make sense of their journey through life and of the circumstances in which they live.
Hamlet is one of those literary characters, like Faust, who gains an iconic, extra-literary identity. Moody, hesitant, insolent, and wracked by guilt and doubt, Hamlet marked the eruption into Western literature of self-consciousness as a literary trope.
Understanding that Rosencrantz and Guildenstern are agents of Claudius, not his true friends, Hamlet mockingly says, “You would pluck out the heart of my mystery.” Whether considered in psychological, social, religious, historical, or political terms, that “mystery” has for centuries intrigued readers and audiences. I invite you to share that intrigue, or to return to it.
In Shakespeare's verbally dazzling and eternally enigmatic exploration of conscience, madness and the nature of humanity, a young prince meets his father's ghost in the middle of the night, who accuses his own brother - now married to his widow - of murdering him. The prince devises a scheme to test the truth of the ghost's accusation, feigning wild insanity while plotting revenge. But his actions soon begin to wreak havoc on innocent and guilty alike.
Is Henry James an American or a British author? Perhaps both. Born and raised in New York City, member of a well-to-do family, James spent his adult years in Great Britain. Yet his central theme, the collision of American “innocence” with European sophistication, is inherently trans-oceanic.
Nowhere is that theme more brilliantly explored than in The Portrait of a Lady. Isabel Archer, young, wealthy, unattached, free, it seems, to make of her life what she will, nonetheless marries a fortune-hunting expatriate, and her gradual discovery of the magnitude of her mistake makes the novel a great, heart-wrenching tragedy.
'One ought to choose something very deliberately, and be faithful to that.'
Isabel Archer is a young, intelligent, and spirited American girl, determined to relish her first experience of Europe. She rejects two eligible suitors in her fervent commitment to liberty and independence, declaring that she will never marry. Thanks to the generosity of her devoted cousin Ralph, she is free to make her own choice about her destiny. Yet in the intoxicating worlds of Paris, Florence, and Rome, her fond illusions of self-reliance are twisted by the machinations of her friends and apparent allies. What had seemed to be…
This, Sally Rooney’s first novel, was greeted with widespread critical acclaim. Fresh, witty, knowing, and au courant in its exploration of present-day sexual and romantic entanglements, the novel was clearly the work of a major talent.
Both Conversations and Rooney’s highly popular second novel, Normal People, have been adapted for television. Perhaps you’ve seen one or both and have read the novels as a result. If not, I urge you to do so, beginning with Conversations.
I haven’t yet watched either adaptation, but I believe that watching and reading have different sorts of advantages. Against the immediacy and vividness of watching TV shows, reading the novel will allow you to move at your own pace, to savor Rooney’s verbal dexterity, to revisit earlier scenes, and to discover their added significance. Watch (if you haven’t already), read, enjoy!
'This book. This book. I read it in one day. I hear I'm not alone.' - Sarah Jessica Parker (Instagram)
'Brilliant, funny and startling.' Guardian
'I really like Conversations with Friends. I like the tone [Rooney] takes when she's writing. I think it's like being inside someone's mind.' - Taylor Swift
'A sharp, darkly funny comment on modern relationships.' Sunday Telegraph
Frances is twenty-one years old, cool-headed and observant. A student in Dublin and an aspiring writer, at night she performs spoken word with her best friend Bobbi, who used to be her girlfriend.…
I’ve read, taught, and loved Stephen Crane’s stories for years. Harried out of the United States because of “immoral” behavior, Crane moved to England, where he died from tuberculosis at the age of 29. Henry James wept when he heard of Crane’s death.
The Open Boat is based on an actual event. On his way to Cuba as a correspondent during the Spanish-American war, Crane and three companions spent thirty hours in a small dinghy after their ship sank, with only three surviving the ordeal.
Crane transforms these circumstances into a great short story. In a tone at times whimsical, ironic, and meditative, the Correspondent, the only character whose consciousness we enter, arrives at a double awareness.
He learns that nature is “flatly indifferent” to his plight—and, amazingly, that “the subtle brotherhood of men” established in the dinghy offers more-than-adequate compensation for that bleak realization.
A seat in this boat was not unlike a seat upon a bucking broncho, and by the same token, a broncho is not much smaller. The craft pranced and reared, and plunged like an animal. As each wave came, and she rose for it, she seemed like a horse making at a fence outrageously high. The manner of her scramble over these walls of water is a mystic thing, and, moreover, at the top of them were ordinarily these problems in white water, the foam racing down from the summit of each wave, requiring a new leap, and a leap…
Many years ago, when I first tried to read this novel, I gave up after three pages. Its title comes from Shakespeare’s Macbeth: Life, Macbeth says, “is a tale / Told by an idiot, full of sound and fury, / Signifying nothing.” Indeed, the first of the novel’s four sections is told by an “idiot,” the mentally handicapped Benjy Compson.
A seemingly chaotic assemblage of visual impressions and intrusive memories, the section is, in fact, highly organized and internally consistent. It gradually reveals Benjy’s inchoate sorrow at his sister Caddy's absence from the family, she who alone loved and nurtured him.
The second and third sections are in the voices of Benjy’s two brothers, the suicidal Quentin and the racist and misogynistic Jason. Both also offer difficulties, Quentin’s especially. The final section is an overview in the form of a third-person narrative.
Taken together, the four sections provide a somber, tragic, touching account of the decline and fall of a once-proud Southern family. I invite you to take on this great novel’s challenges.
A complex, intense American novel of family from the winner of the Nobel Prize for Literature
With an introduction by Richard Hughes
Ever since the first furore was created on its publication in 1929, The Sound and the Fury has been considered one of the key novels of this century. Depicting the gradual disintegration of the Compson family through four fractured narratives, the novel explores intense, passionate family relationships where there is no love, only self-centredness. At its heart, this is a novel about lovelessness - 'only an idiot has no grief; only a fool would forget it.
Bright but unassuming Marilyn Jones has some grown-up decisions to make, especially after Mama goes to prison for drugs and larceny. With no one to take care of them, Marilyn and her younger, mentally challenged brother, Carol, get tossed into the foster care system. While shuffling from one home to another, Marilyn makes it her mission to find the Tan Man, a mysterious man from her babyhood she believes holds the key to her family’s happiness.
But Marilyn’s quest is halted when her daddy, an ex-con she has never met, is chosen by the courts as the new guardian. Caleb Jones wants something more than a father-daughter relationship. He sends Carol far away, where the boy won’t be a hindrance to his plans. Marilyn devises a plan of her own: to locate her little brother, kidnap him, and run away.
Independence, however, often comes at a high price.
As Marilyn weathers the unexpected and often brutal storms of her childhood and adolescence, hope becomes her ally as she winds through small southern towns, wrapping herself around an assortment of hearts along the way. With unexpected help from a caring social worker, a carnival of misfits, her first true love, and even the elusive Tan Man himself, Marilyn will discover that “family” isn’t always what we imagine it to be.
"A dazzling piece that delves deep into the themes of survival, the casualties of self-discovery, and the power of familial ties." ~ Prairies Book Review
Bright but unassuming Marilyn Jones has some grown-up decisions to make, especially after Mama goes to prison for drugs and larceny. With no one to take care of them, Marilyn and her younger, mentally challenged brother, Carol, get tossed into the foster care system. While shuffling from one home to another, Marilyn makes it her mission to find the Tan Man, a mysterious man from her babyhood she believes holds the key to her family's happiness.
But Marilyn's quest is halted when her daddy, an ex-con she has never met, is chosen by the courts as the new guardian. Caleb…
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