This, the first critical biography of Arthur Morrison (1863-1945), presents his East End writing as the counter-myth to the cultural production of the East End in late-Victorian realism. Morrison’s works, particularly Tales of Mean Streets (1894) and A Child of the Jago (1896), are often discussed as epitomes of slum fictions of the 1890s as well as prime examples of nineteenth-century realism, but their complex contemporary reception reveals the intricate paradoxes involved in representing the turn-of-the-century city. Arthur Morrison and the East End examines how an understanding of the East End in the Victorian cultural imagination operates in Morrison’s own writing. Engaging with the contemporary vogue for slum fiction, Morrison redressed accounts written by outsiders, positioning himself as uniquely knowledgeable about a place considered unknowable. His work provides a vigorous challenge to the fictionalised East End created by his predecessors, whilst also paying homage to Charles Dickens, George Gissing, Walter Besant and Guy de Maupassant. Examining the London sites which Morrison lived in and wrote about, this book is an excursion not into the Victorian East End, but into the fictions constructed around it.
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Similarly , Nadja in " Word for Word " is reluctant to call Mr. Frankel by his first name , Ludwig , an act which would signal an acceptance of his appropriateness for her , since Ludwig — like Robert , Ernst , Fritz , Erich , Franz ...
Ellen went to Mrs. Donahue's house for help and Pius was soon hurrying to St. Lucy to telephone for a doctor. When Pius returned he brought the Carriers who remained all night. Bill and Pius helped the doctor set the bone and bind in ...
The mother was on Donahue. 60 Minutes did the doc and they'll repeat the news at ten. People dying, people killing, people crying— you can see it all on TV. Reality is really on TV. It's just another way to see— starvation in North ...
Philip P. Wiener . New York : Charles Scribner's Sons , 1973 . Plato . Plato : The Symposium . Trans . and ed . Alexander Nehemas and Paul Woodruff . Indianapolis : Hackett Publishing Company , 1989 . Plummer , Kenneth , ed .
When the credits started to roll and Carmen, needing her meds and cigarettes, handed Ryan her car keys, Mary Ellen stared in disbelief. “She's giving him her keys!” she thought, eyeing Pepe, trying to catch his attention because he knew ...
Here she debuts a provocative new story written especially for this series.
We make our way slowly into the assembly hall, where 26 identical pillars cut from one rock line the sides. A fat stupa cut of the same rock stands at the innermost part of the hall; 20 feet high, it's shaped like an overturned bowl ...
... 126 , 134 174 , 203 , 211 , 212 , 216 Theodorides , Aristide , 93 Wiseman , D. J. , 50 , 51 , 67 , Thomas , D. Winton , 170 , 84 , 85 , 89 , 93 , 170 , 200 171 , 200 Thompson , R. Campbell , Wolf , Herbert , 126 22 , 47 , 113 Wright ...
Everyone seems to have got something out of the speeches, the Metaphysical Revolution was declared, and Shelley's wind is now scattering “sparks, my words among mankind” (the passage Kathleen Raine quoted). We now hope it translates ...