- Gebundene Ausgabe: 352 Seiten
- Verlag: Secker (23. August 2001)
- Sprache: Englisch
- ISBN-10: 043627597X
- ISBN-13: 978-0436275975
- Größe und/oder Gewicht: 14,7 x 3 x 22,3 cm
- Durchschnittliche Kundenbewertung: Schreiben Sie die erste Bewertung
- Amazon Bestseller-Rang: Nr. 932.191 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Hell And Back (Englisch) Gebundene Ausgabe – 23. August 2001
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Mehr über den Autor
A superb new collection of essays from one of Britain's finest writers
From Svevo, Saba and Joyce in Trieste to Borges, Rushdie and psychopathology, Tim Parks' new collection of essays confirms his mastery of the essay form. Other subjects include Saramago, Sebald, Seth, Henry Green, Christina Stead, Leopardi, Verga, Montale, Sironi in Fascist Italy, Buzzati, Bateson and NeugeborenAlle Produktbeschreibungen
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Starting off with a take on the Robert + Jean Hollander translation of Dante's Inferno, Parks remarks: "If twenty-first century man went to Heaven he would soon be demonstrating to have Hell abolished." (p. 20) Parks finds the "anesthetic" quality of the infernal realms a necessary ingredient, to distance us from the torment. Similarly, Parks argues for the terza rima as a way to keep the reader and the poet-pilgrim and his guide all advancing past the disquieting scenes.
On Borges, he finds the non-fiction better in its collected format than the fiction, which starts to use the same tropes. Rushdie features "fizz" (a quality Parks also attributes to Henry Green and to Eugenio Montale subsequently in these pages) but lacks the sustaining discipline in "The Ground Beneath Her Feet." "His mother rejoiced when her children died in infancy" is a sure-fire attention getter opening his study of a new biography of Giacomo Leopardi. After these, however, some essays start to loose their fizz. I wish there had been an introduction to explain the provenance (beyond footnotes and an overall listing, lacking even the date of each entry) and Parks' rationale for the arrangement of the entries: no idea if it's aleatory or chronological.
Some mentions connect writers; Beckett, for instance, gets a walk-on role in both the end of the Dante and the Borges pieces. But others, like one on a lackluster Vikram Seth saga, seem to end only to begin again. The generous space allotted Parks in NYRB seems to vitiate the energy of some of these reviews, as so many words afford him a chance to elaborate. He makes his points cogently, as in defending D.H. Lawrence's translations of Verga's stories against the attempts of G.H. McWilliam, and his knowledge of Italian here and in the Montale entry, of course, enable Parks to delve much deeper into the way his second language works.
This perspective, as he reflects in "Different Worlds" about his belated refusal to write in or to translate into Italian, complicates many of his analyses. It also gives him a chance to discuss the edition in English of Dino Buzzati's "The Tartar Steppe" or the intricacies of Italo Svevo's Trieste with more insight than most critics could summon for an anglophone audience. So, despite some loose ends, such as why this book's title was chosen, this is a worthwhile book.
This is a book I will visit again and again, as I am inspired to become acquainted with the work of the other writers Parks presents in this wonderful collection of essays about writers and writing.