Download e-book for iPad: Lolly Willowes (New York Review of Books Classics) by Sylvia Townsend Warner
By Sylvia Townsend Warner
In Lolly Willowes, Sylvia Townsend Warner tells of an getting older spinster's fight to wreck manner from her controlling family—a vintage tale that she treats with cool feminist intelligence, whereas including a size of the supernatural and unusual. Warner is without doubt one of the extraordinary and necessary mavericks of twentieth-century literature, a author to set beside Djuna Barnes and Jane Bowles, with a subversive genius that anticipates the wonderful flights of such contemporaries as Angela Carter and Jeanette Winterson.
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Extra resources for Lolly Willowes (New York Review of Books Classics)
Surprisingly, Dimler surmises that Oskar overcomes his alienation and is united with Jesus at the scene of his arrest in Paris simply because he introduces himself to the detectives as Jesus in three languages (TD, 587). The genre studies continued into the 1980s. Jürgen Jacobs (1983) opines that Grass’s work is the most important example of the resurgence of the picaresque novel in postwar German literature and rejects attempts to classify it as either a Bildungsroman, a Künstlerroman, or a novel that shows the development of an artistically inclined individual who struggles to prevail against his bourgeois environment.
1971, 15) briefly points out, Grass delves deeply into the changeful history of Danzig before depicting the arrival of the Poles with “bag and baggage” (TD, 398); without doubt, such depiction is intended to enable 42 ♦ DIE BLECHTROMMEL / THE TIN DRUM the reader to perceive the expulsion as yet another chapter in a long chain of wars and destruction. Not until the 1990s is the controversial topic of expulsion, which Grass was to address more comprehensively decades later in the novella Im Krebsgang (2002; Crabwalk 2003), tackled by Herman Beyersdorf (1992) in relation to Die Blechtrommel.
Blomster (1969c) offers an intriguing glance at Oskar’s artistic preferences. While critics usually praise Grass’s attention to detail and historical accuracy, Blomster provides a corrective comment on an episode in the chapter “The Stockturm: Long-Distance Song Effects” (book 1), and, in a somewhat positivistic manner, faults Grass for not adhering to the actual date of the production of Richard Wagner’s Der fliegende Holländer (1843; The Flying Dutchman, 1982) in 1939 as well as for taking considerable liberties with its libretto on occasion of the Matzeraths’ and Jan Bronski’s visit to the Opera-in-the-Woods at Zoppot, the “Bayreuth of the North,” in the vicinity of Danzig.