Frank Kermode – författare

The Way We Live Now is Anthony Trollope's radical exploration of the dangers associated with speculative capitalism, edited with an introduction and notes by Frank Kermode in Penguin Classics.Augustus Melmotte is a fraudulent foreign financier who preys on dissolute nobility - using charm to tempt the weak into making foolish investments in his dubious schemes. Persuaded to put money into a notional plot to run a railroad from San Francisco to Santa Cruz, the capricious gambler Felix Carbury soon becomes one of his victims. But as Melmotte climbs higher in society, his web of deceit - which also draws in characters as diverse as his own daughter Marie and Felix's mother, the pulp novelist Lady Carbury - begins to unravel. A radical exploration of the dangers associated with speculative capitalism, this is a fascinating satire about a society on the verge of moral bankruptcy.Frank Kermode's introduction explores the real-life inspiration for Trollope's masterly satire. This edition also includes detailed notes.Anthony Trollope (1815-82) had an unhappy childhood characterised by a stark contrast between his family's high social standing and their comparative poverty. He wrote his earliest novels while working as a Post Office inspector, but did not meet with success until the publication of the first of his 'Barsetshire novels', The Warden (1855). As well as writing over forty novels, including such popular works as Can You Forgive Her? (1865), Phineas Finn (1869), He Knew He Was Right (1869) and The Way We Live Now (1875) Trollope is credited with introducing the postbox to England.If you enjoyed The Way We Live Now, you might like William Makepeace Thackeray's Vanity Fair, also available in Penguin Classics.'Trollope's masterpiece ... its examination of how hopes of easy money can corrupt remains relevant today' Observer

The true biography of Shakespeare - and the only one we really need to care about - is in the plays. Sir Frank Kermode, Britain's most distinguished literary critic, has been thinking about them all his life. This book is a distillation of that lifetime's thinking. The great English tragedies were all written in the first decade of the seventeenth century. They are often in language that is difficult to us, and must have been hard even for contemporaries. How and why did Shakespeare's language develop as it did? Kermode argues that the resources of English underwent major change around 1600. The originality of Kermodes's writing, and the intelligence of his discussion, make this book a landmark.

Anthony Trollope's story of one man's obsessive self-deception pitted against against the enduring power of his wife's love, He Knew He Was Right is edited with an introduction by Frank Kermode in Penguin Classics.On a visit to the Mandarin Islands, Louis Trevelyan falls in love with Emily, the daughter of the governor, and they are swiftly married and return to live in London. But when a friend of Emily's father - the meddlesome libertine Colonel Osborne - starts paying rather too much attention to the young woman, Louis is consumed by jealousy and refuses to listen to his wife's pleas of innocence. And as his suspicions become increasingly obsessive and the marriage collapses, Louis finds himself driven to desperate actions. In He Knew He Was Right, Trollope created a highly sympathetic portrait of a deeply troubled marriage, and a compelling psychological story of sexual obsession in his portrait of a nineteenth-century Othello.In his introduction, Frank Kermode discusses Victorian attitudes to courtship and marriage, compares the novel to Othello and places it in the context of Trollope's other works. This edition also includes a new chronology, a bibliography and notes.Anthony Trollope (1815-82) had an unhappy childhood characterised by a stark contrast between his family's high social standing and their comparative poverty. He wrote his earliest novels while working as a Post Office inspector, but did not meet with success until the publication of the first of his 'Barsetshire novels', The Warden (1855). As well as writing over forty novels, including such popular works as Can You Forgive Her? (1865), Phineas Finn (1869), He Knew He Was Right (1869) and The Way We Live Now (1875) Trollope is credited with introducing the postbox to England.If you enjoyed He Knew He Was Right, you might enjoy Trollope's The Way We Live Now, also available in Penguin Classics.

Louis Trevelyan unjustly accuses his wife Emily of a liaison with a friend of her father's. As his suspicion deepens into madness, Trollope gives a psychological study in which Louis's obsessive delirium is comparable to the tormented figure of Othello, tragically flawed by self-deception.

Augustus Melmotte is a fraudulent foreign financier who preys on dissolute nobility - using charm to tempt the weak into making foolish investments in his dubious schemes. Persuaded to put money into a notional plot to run a railroad from San Francisco to Santa Cruz, the capricious gambler Felix Carbury soon becomes one of his victims. But as Melmotte climbs higher in society, his web of deceit - which also draws in characters as diverse as his own daughter Marie and Felix's mother, the pulp novelist Lady Carbury - begins to unravel. A radical exploration of the dangers associated with speculative capitalism, this is a fascinating satire about a society on the verge of moral bankruptcy.

The stories in this collection were written mostly between 1888 and 1897, a time when Henry James’s writing was concerned with the art of fiction and the position of the artist in society. The motif and title story, ‘The Figure in the Carpet’, is an inspired joke, a masterpiece of double-entendre that demands the reader’s undivided love and attention and continues to baffle its critics. Also included are ‘The Author of Beltraffio’, an absorbing story of family infighting, authorship and tragedy, and ‘The Private Life’, a spirited tale that considers the contrast between the artist alone and at work. While many of these stories appear to be elaborate Jamesian games, all employ irony and humour to allegorize artistic creation.

The true biography of Shakespeare - and the only one we really need to care about - is in the plays. Sir Frank Kermode, Britain's most distinguished literary critic, has been thinking about them all his life. This book is a distillation of that lifetime's thinking. The great English tragedies were all written in the first decade of the seventeenth century. They are often in language that is difficult to us, and must have been hard even for contemporaries. How and why did Shakespeare's language develop as it did? Kermode argues that the resources of English underwent major change around 1600. The originality of Kermodes's writing, and the intelligence of his discussion, make this book a landmark.

Reading other people's letters, like reading private diaries, offers thrilling and unexpected glimpses into their lives, and it is partly the guilty pleasure we take in such literary eavesdropping that makes this volume so compelling. More than 300 letters spanning five centuries chronicle the affairs of correspondents from Elizabeth I to Groucho Marx, from politicians to poets, and from the famous to the unknown. But whether the writers are educated or barely literate, whether the prose is polished and witty or stumbling and artless, these letters share an immediacy and intimacy unlike any other form of writing. Their subjects range from the mundane to the extraordinary, from gossip about the latest fashion to the horrors of a public execution, and from the tragic to the hilarious. Exchanges of letters between regular correspondents are included, where familiarity and an ongoing saga add to the fascination. Among the most moving letters are those from emigrants to America, Australia, and South Africa, describing the hardships they endured and the resolution with which they faced their new worlds. In every case the editors provide a context for the letters, and unobtrusive notes. In an age where communication is instant and ephemeral this volume celebrates the glories of the written word, and what may well be a dying art form.

Frank Kermode is one of our most distinguished and beloved critics of English literature. Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burroughs, Kermode shows how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literature - with "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas.

The question of the canon has been the subject of debate in academic circles for over fifteen years. Pleasure and Change contains two lectures on this important subject by the distinguished literary critic Sir Frank Kermode. In essays that were originally delivered as Tanner Lectures at Berkeley in November of 2001, Kermode reinterprets the question of canon formation in light of two related and central notions: pleasure and change. He asks how aesthetic pleasure informs what we find valuable, and how this perception changes over time. Kermode also explores the role of chance, observing the connections between canon formation and unintentional and sometimes even random circumstance. Geoffrey Hartmann (Yale University), John Guillory (New York University), and Carey Perloff (director of the American Conservatory Theatre) offer incisive comments on these essays, to which Kermode responds in a lively rejoinder. The volume begins with a helpful introduction by Robert Alter. The result is a stimulating and accessible discussion of a highly significant cultural debate.

Frank Kermode is one of our most distinguished critics of English literature. Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literature with "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas.

Frank Kermode returns to the literature of his youth to ask why we appear to have forgotten how urgent and powerful it seemed in a time of economic crisis and imminent world war. The general questions suggested by the title are answered first by a study of bourgeois left wing literature in the 1930s - including a case study of a forgotten novel of the period (Stephen Haggard's Nya, OPB, 1988) - and then by a consideration of the problem of value in work belonging to a period earlier than one's own. The last chapter concentrates on the most recent attempt to make these issues manageable - namely, postmodernism, which rejects all notions of wholeness, and speaks of a catastrophic break with the past.

Between the Acts is Virginia Woolf's last novel, and in her own opinion it was `more quintessential' than any of her others. Set in the summer of 1939 on the day of the annual village pageant at Pointz Hall, the book weaves together the musings of several disparate characters and their reactions to the imminence of a war which is to change the pattern of history. Before the book was published in the spring of 1941, Virginia Woolf had taken her own life. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Frank Kermode is one of our most distinguished critics of English literature. Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literature with "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas.

Sir Frank Kermode, the British scholar, teacher, and author, was an inspired critic. "Forms of Attention" is based on a series of three lectures he gave on canon formation, or how we choose what art to value. The opening essay, on Botticelli, traces the artist's sudden popularity in the nineteenth century for reasons that have more to do with poetry than painting. In the second essay, Kermode reads Hamlet from a very modern angle, offering a useful (and playful) perspective for a contemporary audience. The final essay is a defense of literary criticism as a process and conversation that, while often conflating knowledge with opinion, keeps us reading great art and working with - and for - literature.

Edited and with an Introduction by Frank KermodeA Woman Killed with Kindness by Thomas HeywoodVolpone by Ben JonsonThe Revenger’s Tragedy by Cyril TourneurThe Maid’s Tragedy by John Fletcher and Francis BeaumontA Chaste Maid in Cheapside by Thomas MiddletonThe Duchess of Malfi by John WebsterThe Changeling by Thomas Middleton and William RowleyThe lyrical, bloodthirsty tragedies and witty urban comedies in this original collection were first performed during the reign of King James I (1603—25). Though nearly four centuries old, they display surprisingly modern sensibilities regarding sex, violence, morality, and honor. Brilliantly introduced and annotated by Frank Kermode, these seven Jacobean masterpieces are the finest and most representative plays of a time when drama was the most vital and important mirror of English society.From the Trade Paperback edition.

This revised edition of the successful Casebook first published in 1969, has been brought up-to-date with the inclusion of more recent criticism, whilst retaining early comments and critiques. Contributors include A.C.Bradley, A.Wilson Knight, Enid Welsford, George Orwell, Robert B.Heilman, Barbara Everett, John Holloway, W.R.Elton, Stanley Cavell and Stephen Greenblatt.

This revised edition of the successful Casebook first published in 1969, has been brought up-to-date with the inclusion of more recent criticism, whilst retaining early comments and critiques. Contributors include A.C.Bradley, A.Wilson Knight, Enid Welsford, George Orwell, Robert B.Heilman, Barbara Everett, John Holloway, W.R.Elton, Stanley Cavell and Stephen Greenblatt.

Creative Lives and Works: Raymond Firth, Audrey Richards, Lucy Mair, Meyer Fortes and Edmund Leach is a collection of interviews conducted by one of England’s leading social anthropologists and historians, Professor Alan Macfarlane. Filmed over a period of 40 years, the five conversations in this volume, are part of a larger set of interviews that cut across various disciplines, from the social sciences, the sciences to the performing and visual arts. The current volume on five of England’s foremost social anthropologists is the second in the series of several such books. These conversations and talks are interlaced with rich ethnography and interpretations of distant civilizations and the very real practices that enable these tribal societies and cultures to thrive. There are several teaching moments in these engaging conversations which are further enriched by detailed personal experiences that each of the five shares. Sir Raymond Firth gives us an insight into his Polynesian experience, while Audrey Richards and Lucy Mair recall their days in the African hinterland. Meyer Fortes’s account of his tribal study, yet again in the African subcontinent, is mesmeric, while Sir Edmund Leach’s Southeast Asian encounters are just as enthralling. Immensely riveting as conversations, this collection gives one a flavour of how tribal societies live and work. The book will be of enormous value not just to those interested in learning about tribal societies and cultures, and those interested in History, Culture Studies, but also to those curious to gather knowledge about other cultures.Please note: This title is co-published with Social Science Press, New Delhi. Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.

For the past four decades Frank Kermode, critic and writer, has steadily established himself as one of the most brilliant minds of his generation. Questioning the public's harsh perception of 'the artist', Kermode at the same time gently pokes fun at artists' own, often inflated, self-image. He identifies what has become one of the defining characteristics of the Romantic tradition - the artist in isolation and the emerging power of the imagination. Back in print after an absence of over a decade, The Romantic Image is quintessential Kermode. Enlightenment has seldom been so enjoyable!

First published in 1971.This collection of essays discusses some of the central works and areas of literature in the Renaissance period of cultural history.Contents include: Spenser and the Allegorists; The Faerie Queene, I and V; The Cave of Mammon; The Banquet of Sense; John Donne; The Patience of Shakespeare; Survival fo the Classic; Shakespeare's Learning; The Mature Comedies; The Final Plays.

First published in 1971.This collection of essays discusses some of the central works and areas of literature in the Renaissance period of cultural history.Contents include: Spenser and the Allegorists; The Faerie Queene, I and V; The Cave of Mammon; The Banquet of Sense; John Donne; The Patience of Shakespeare; Survival fo the Classic; Shakespeare's Learning; The Mature Comedies; The Final Plays.

'Literary criticism is a distinctive activity of the civilised mind.' With Eliot's dictum in mind, Professor Kermode has selected from the whole range of his critical writings, some of them dating back to before 1918. There are essays of generalisation, appreciations of individual writers, and a section of his social and religious criticism. All the famous and most influential essays are drawn upon, with extracts from many others, and there is an important Introduction by Professor Kermode, with valuable notes.

Frank Kermode is the preeminent practitioner of the art of criticism in the English-speaking world. As such his task entails the readiness to evaluate in general terms the widest range of texts, both ancient and modern, and also the ability to make public sense of the seemingly arcane debates about theories of literature as they pertain to the ongoing process of evaluation. It has been Kermode’s distinction to make a virtue—as all the best critics have done—of the necessarily occasional nature of his profession. That virtue is evident in every page of this set of essays.This is a book in which Kermode asks the reader to share his pleasure in the literature of a set of major writers—Milton, Eliot, Stevens. He vividly evokes Milton after the Restoration of Charles II, with a fine speculative discussion of the interplay between his personal and political circumstances and the preoccupations of his poetry. He sets before us T. S. Eliot living in a condition of permanent exile, Wallace Stevens in his old age dwelling poetically in Connecticut, and author/critic William Empson, whose singular career was marked by both the pleasure of the text and the delight in conceptual issues that characterizes so much of the contemporary taste for theory. Other essays draw our attention to debates on the literary canon and problems of biblical criticism and their implications for the study of narrative in particular and the interpretation of secular literary texts in general.These are professional essays that nevertheless defy the excesses of modern professionalism. Nowhere is this more evident than in the polemical Prologue to the book, in which Kermode sorts out the good from the meretricious in contemporary criticism. He argues that some proclaimed theorists “seem largely to have lost interest in literature,” while the best, like Paul de Man and Jacques Derrida, have never lost what Kermode prizes most highly, the very appetite or hunger for poetry and literature. Always readable, elegant even on gnarled matters, and courteous in contexts where others are bad-tempered, An Appetite for Poetry is the work of one of the most distinguished minds of our time. In reaffirming the professional responsibilities of criticism now being neglected, it displays a generous hospitality to new ideas.

Frank Kermode assesses the revolutionary transformations in literary criticism over the last fifteen years and places them in historical perspective. Examining novels ranging in scope from a 1907 bestseller to the avant-garde works of various periods, he includes such writers as Conrad, Ford Madox Ford, Michel Butor, and Thomas Pynchon.