By Hans Bak

Uneasy Alliance illuminates the hot seek in literary experiences for a brand new interface among textual and contextual readings. Written in tribute to G.A.M. Janssens, the twenty-one essays within the quantity exemplify a renewed knowledge of the paradoxical nature of literary texts either as works of literary artwork and as records embedded in and functioning inside of a writer’s existence and tradition. jointly they provide clean and sometimes interdisciplinary views on twentieth-century American writers of roughly verified prestige (Henry James, Edna St. Vincent Millay, E.E. Cummings, Vladimir Nabokov, Flannery O’Connor, Saul Bellow, Michael Ondaatje, Toni Morrison and Sandra Cisneros) in addition to on those that, for purposes of style, politics, ideology, or gender, were unduly overlooked (Booth Tarkington, Julia Peterkin, Robert Coates, Martha Gellhorn, Isabella Gardner, Karl Shapiro, the younger Jewish-American writers, Julia Alvarez, and writers of renowned crime and detective fiction). Exploring the fruitful interactions and uneasy alliance among literature and ethics, movie, biography, gender reports, pop culture, avant-garde artwork, city reviews, anthropology and multicultural experiences, jointly those essays testify to the continued pertinence of an method of literature that's undogmatic, delicate and complicated and that seeks to do justice to the complicated interweavings of literature, tradition and biography in twentieth-century American writing.

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Extra resources for Uneasy Alliance: Twentieth-Century American Literature, Culture and Biography (Costerus NS 150)

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32 In This is Orson Welles, 471, the Bogdanovich/Rosenbaum synopsis of the cuttings is inaccurate. Compare the reconstruction of the script in Carringer, 189, 190. 33 Carringer,197, wrongly interprets the script’s reference to one Aggie bringing George something to eat: a precise reading of the novel indicates that the Aggie/Maggie referred to is not Agnes/Aggie Moorehead, who plays Fanny, but just a maid called in by Isabel. A Variety of Ambersons 51 The subsequent Chapter 26 is faithfully rendered, too, except for the choice that George puts before his mother which was not included in Welles’ script, though it is dramatically very apposite: “Do you think if you did what he wants you to do I could bear to stay another day in this town, mother?

It is essential for a deeper understanding of the novel to see that what Lucy found lacking in George was, indeed, a spirit of enterprise: 38 Peter Rietbergen “You haven’t settled on anything to do .... ” she’d once asked him. “I expect to live an honourable life,” he said. ” “Whatever appeals to me,” he said. (174-75) The conversation could have occurred thirty years after the novel’s period, in Tarkington’s own days or, indeed, in our own times, as other American youth of gilded attraction contemplate their future.

39 Welles’ version of Chapter 30 inexplicably leaves out George’s growing awareness of the awful thing he has done. Instead of the long and very convincing dialogue with his aunt that we find in the novel, the script summarizes a lot of descriptive material about the Ambersons’ financial downfall and the old Major’s death. Part of this was eliminated in the revised version, which must have left the audience with a rather strange feeling, as it makes the next scene, in which George and his uncle part, after they have been left virtually penniless, almost incomprehensible.

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