- Taschenbuch: 92 Seiten
- Verlag: New Directions (April 1993)
- Sprache: Englisch
- ISBN-10: 0811212432
- ISBN-13: 978-0811212434
- Größe und/oder Gewicht: 12,1 x 0,7 x 18,2 cm
- Durchschnittliche Kundenbewertung: 2.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
- Amazon Bestseller-Rang: Nr. 2.121.398 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Einleitungssatz
The clangour of bells grew insistent. Lesen Sie die erste Seite
Buchdeckel | Copyright | Auszug | Rückseite
The clangour of bells grew insistent. Lesen Sie die erste Seite
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Die hilfreichsten Kundenrezensionen
Format:Taschenbuch
To begin with the bad:
I can't beat a drum for everyone to read CAPRICE. None of the characters aroused empathy in me. Not a single wrenching emotion is to be found in the pages. Plus, the plot seems thin. And yet . . . .
And yet there are those who consider Ronald Firbank a seminal contributor to the transition of novels from Victorian to modern mode. During the early 1920's he was considered one of the avant garde. All his novels except one he published himself, the price for preferring his own taste over the public's. Traces of his innovative approach can be found in the novels of Anges Wilson, Anthony Powell, Evelyn Waugh, and I. Compton-Burnett.
CAPRICE could be subtitled: The Rise and Fall of Sara Sinquier. In short, the consequences of a young woman pursuing a theatrical career. One of the back cover puffs--those laudatory clips intended to convince a prospective reader the book is worth opening--praises the work as unobscure, 'classical'. The praise alludes to the difficulties his style usually imposed on readers.
This novel displays characteristics of that seminal style: abrupt transitions, frothy dialogue riddled with innuendo, brief paragraphs, well-honed imagery. Firbank's rich vocabulary may require a desk dictionary be handy while reading him.
He himself was a colorful person: fond of flowers, a foppish dresser, shy, and an incessant traveler. Toward fiction he remained a devoted disciple, compiling in violet ink copious notes for each novel.
I am somewhat uneasy using the word 'novel' in reference to CAPRICE. A paperback no larger than a 5x8 index card and less than a hundred pages thick begs a generous application of the term. Length may not be the subtlest criteria of a novel but it is the most patent. The further away a work is from the commonly accepted poles of size the more strained the term's use. A fifty thousand-word fiction can hardly be called a short story and a thousand word one a novel. In my opinion CAPRICE barely qualifies as a novelette. For its size it may well be considered a gem but if one is to call it a novel why then a midget is a short giant.
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A Early Work of a Literary Innovator
5. Januar 2000
Format:Taschenbuch
To begin with the bad:
I can't beat a drum for everyone to read CAPRICE. None of the characters aroused empathy in me. Not a single wrenching emotion is to be found in the pages. Plus, the plot seems thin. And yet . . . .
And yet there are those who consider Ronald Firbank a seminal contributor to the transition of novels from Victorian to modern mode. During the early 1920's he was considered one of the avant garde. All his novels except one he published himself, the price for preferring his own taste over the public's. Traces of his innovative approach can be found in the novels of Anges Wilson, Anthony Powell, Evelyn Waugh, and I. Compton-Burnett.
CAPRICE could be subtitled: The Rise and Fall of Sara Sinquier. In short, the consequences of a young woman pursuing a theatrical career. One of the back cover puffs--those laudatory clips intended to convince a prospective reader the book is worth opening--praises the work as unobscure, 'classical'. The praise alludes to the difficulties his style usually imposed on readers.
This novel displays characteristics of that seminal style: abrupt transitions, frothy dialogue riddled with innuendo, brief paragraphs, well-honed imagery. Firbank's rich vocabulary may require a desk dictionary be handy while reading him.
He himself was a colorful person: fond of flowers, a foppish dresser, shy, and an incessant traveler. Toward fiction he remained a devoted disciple, compiling in violet ink copious notes for each novel.
I am somewhat uneasy using the word 'novel' in reference to CAPRICE. A paperback no larger than a 5x8 index card and less than a hundred pages thick begs a generous application of the term. Length may not be the subtlest criteria of a novel but it is the most patent. The further away a work is from the commonly accepted poles of size the more strained the term's use. A fifty thousand-word fiction can hardly be called a short story and a thousand word one a novel. In my opinion CAPRICE barely qualifies as a novelette. For its size it may well be considered a gem but if one is to call it a novel why then a midget is a short giant.
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