Kingsley Amis : antimodels and the audience /
While it has become commonplace to discount British novelist Kingsley Amis as a "naïve realist," a mere comedic novelist, even a misogynist and failed moralist, Andrew James argues that Amis was seriously concerned with the role of the artist in society and explored this subject in many of...
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| Format: | Electronic eBook |
| Language: | English |
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Montréal :
McGill-Queen's University Press,
2013
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| Local Note: | ProQuest Ebook Central |
Table of Contents:
- PART ONE 1946-1969: EXPOSING FLAWS IN ANTIMODELS AND FORMATIVE INFLUENCES. Exploring Critical Misinterpretations and the Roots of Antimodels
- Lessons of The Legacy, a Comparison with Wain, and the Development of a Narrative Voice in Lucky Jim
- Defining the Self: Writing Against Dylan Thomas and Philip Larkin in That Uncertain Feeling
- Lessons in Storytelling: Graham Greene, Modernism, and I Like It Here
- Experiments in Content: William Empson, Ambiguity, and Take a Girl Like You
- Evelyn Waugh, Charles Algernon Swinburne, and Englishness in One Fat Englishman
- Limitations of the Provincial Aesthetic in Amis's Poetry: Witnesses, Moral Provocateurs, and The Evans Country
- New Reasons to Write: Entertainment and the Inner Audience in The Egyptologists, The Anti-Death League, and I Want It Now.
- PART TWO BALANCE Contents 1969-1995: TOWARDS RECIPROCITY AND BALANCE. Looking into the Artistic Future: The Green Man, Girl, 20, Ending Up, and The Alteration
- Problems with Language and Balance: Jake's Thing, Stanley and the Women, and Russian Hide-and-Seek
- Resolving Creative Problems: The Old Devils, Difficulties with Girls, The Folks That Live on the Hill, and The Russian Girl
- Final Creative Self-Definitions: You Can't Do Both and The Biographer's Moustache
- Conclusions.
