1. The Licensed Trespasser: The Omniscient Narrator in Middlemarch, 2. Joyce and the Common Life, 3. Thomas Mann’s Comic Spirit, 4. The Art of Ambivalence: The Good Soldier, 5. What May Knew in The Beast in the Jungle, 6. Leon Edel’s Henry James, 7. Censorship and Self-Censorship in the Fiction of D. H. Lawrence, 8. Lawrence and American Fiction, 9. Sex Consciousness and the Novel: A Room of One’s Own, 10. A Contest of Motives: T.E. Lawrence in The Seven Pillars of Wisdom, 11. Character in Saul Bellow’s Novels, 12. Counterlives: Philip Roth in Autobiography and Fiction, 13. Four Decades of Contemporary American Fiction, 14. Recent Novels
Eugene Goodheart is Edytha Macy Gross Professor of Humanities Emeritus at Brandeis University. His books include Mostly Grave Thoughts and Holding the Center.
-It is inspiriting to have a new collection of Eugene Goodheart's
critical essays. He is one of our best--our most useful--critics.
W. B. Yeats spoke of the need to -hold reality and justice in a
single thought.- Goodheart knows the need and works hard to fulfill
it. He never struts in the presence of the book he is reading, but
is always (as if by nature and on principle) attentive, acute,
alive to the issues. No writer could ask for a better reader or a
more conscientious intelligence.- --Denis Donoghue, University
Professor, Henry James Chair of English and American Letters, New
York University -Eugene Goodheart is a critic whom this riven
literary age cries out for. You'll find here none of the occult
jargon or populist cant that pervades academic criticism or the
increasingly glib present-mindedness of the higher literary
journalism. His essays on George Eliot, Joyce, Lawrence, James, et
al. each brilliantly reenvisions the interface of realism and
modernism and those on Bellow, Roth, McEwan, Franzen, et- al. bring
it up to date. Novel Practices is steadfast, resourceful,
exhilarating.- --Ted Solotaroff, author First Loves; A Memoir -When
you read Professor Goodheart's shrewd and perspicuous and engaging
criticism, you are pleasantly reminded of the enduring critics of
an earlier generation that is associated with New York City: Lionel
Trilling, Philip Rahv, Irving Howe. He has their catholicity of
taste, wide-ranging ease of reference, original perspective, and
idiomatic style. You are struck by how he can reveal angles of a
classic work such as Ford's Good Soldier or James's -Beast in the
Jungle- that have been overlooked by the legions of critics who
have already considered that work. Goodheart is one of the few
critics today who is worth rereading.- --George Core, editor, The
Sewanee Review -In earlier books a penetrating investigator of
contemporary cultural and ideological controversy, Eugene Goodheart
here surveys a range of classic modern fiction and related
writings, exploring each work's and each author's emphases and
contradictions against the relevant private or public background.
In every instance it is the intelligence of the writer's reflection
and of these determining backgrounds that serves as the critical
focus. Frankly concerned with the -messages- conveyed by works of
literature, his new book also stands as a long defense of
narrational realism, not excluding those novels that pretend to
live by language alone or by various deconstructive sophistries.-
--Warner Berthoff, professor emeritus, Harvard University -In the
.subtle and probing essays collected in Novel Practices, Eugene
Goodheart writes as both a sensitive reader of modern fiction and
an analytic thinker shedding light on vital literary questions. On
Philip Roth, for example, he offers not only a strong reading of
Roth's late novels and curious memoir but also a illuminating
account of the vexed relations between autobiography and fiction.
This is a welcome book for any serious student of modern writing.-
--Morris Dickstein, Distinguished Professor of English, Graduate
Center, City University of New York
"It is inspiriting to have a new collection of Eugene Goodheart's
critical essays. He is one of our best--our most useful--critics.
W. B. Yeats spoke of the need to "hold reality and justice in a
single thought." Goodheart knows the need and works hard to fulfill
it. He never struts in the presence of the book he is reading, but
is always (as if by nature and on principle) attentive, acute,
alive to the issues. No writer could ask for a better reader or a
more conscientious intelligence." --Denis Donoghue, University
Professor, Henry James Chair of English and American Letters, New
York University "Eugene Goodheart is a critic whom this riven
literary age cries out for. You'll find here none of the occult
jargon or populist cant that pervades academic criticism or the
increasingly glib present-mindedness of the higher literary
journalism. His essays on George Eliot, Joyce, Lawrence, James, et
al. each brilliantly reenvisions the interface of realism and
modernism and those on Bellow, Roth, McEwan, Franzen, et" al. bring
it up to date. Novel Practices is steadfast, resourceful,
exhilarating." --Ted Solotaroff, author First Loves; A Memoir "When
you read Professor Goodheart's shrewd and perspicuous and engaging
criticism, you are pleasantly reminded of the enduring critics of
an earlier generation that is associated with New York City: Lionel
Trilling, Philip Rahv, Irving Howe. He has their catholicity of
taste, wide-ranging ease of reference, original perspective, and
idiomatic style. You are struck by how he can reveal angles of a
classic work such as Ford's Good Soldier or James's "Beast in the
Jungle" that have been overlooked by the legions of critics who
have already considered that work. Goodheart is one of the few
critics today who is worth rereading." --George Core, editor, The
Sewanee Review "In earlier books a penetrating investigator of
contemporary cultural and ideological controversy, Eugene Goodheart
here surveys a range of classic modern fiction and related
writings, exploring each work's and each author's emphases and
contradictions against the relevant private or public background.
In every instance it is the intelligence of the writer's reflection
and of these determining backgrounds that serves as the critical
focus. Frankly concerned with the "messages" conveyed by works of
literature, his new book also stands as a long defense of
narrational realism, not excluding those novels that pretend to
live by language alone or by various deconstructive sophistries."
--Warner Berthoff, professor emeritus, Harvard University "In the
.subtle and probing essays collected in Novel Practices, Eugene
Goodheart writes as both a sensitive reader of modern fiction and
an analytic thinker shedding light on vital literary questions. On
Philip Roth, for example, he offers not only a strong reading of
Roth's late novels and curious memoir but also a illuminating
account of the vexed relations between autobiography and fiction.
This is a welcome book for any serious student of modern writing."
--Morris Dickstein, Distinguished Professor of English, Graduate
Center, City University of New York
"It is inspiriting to have a new collection of Eugene Goodheart's
critical essays. He is one of our best--our most useful--critics.
W. B. Yeats spoke of the need to "hold reality and justice in a
single thought." Goodheart knows the need and works hard to fulfill
it. He never struts in the presence of the book he is reading, but
is always (as if by nature and on principle) attentive, acute,
alive to the issues. No writer could ask for a better reader or a
more conscientious intelligence." --Denis Donoghue, University
Professor, Henry James Chair of English and American Letters, New
York University "Eugene Goodheart is a critic whom this riven
literary age cries out for. You'll find here none of the occult
jargon or populist cant that pervades academic criticism or the
increasingly glib present-mindedness of the higher literary
journalism. His essays on George Eliot, Joyce, Lawrence, James, et
al. each brilliantly reenvisions the interface of realism and
modernism and those on Bellow, Roth, McEwan, Franzen, et" al. bring
it up to date. Novel Practices is steadfast, resourceful,
exhilarating." --Ted Solotaroff, author First Loves; A Memoir "When
you read Professor Goodheart's shrewd and perspicuous and engaging
criticism, you are pleasantly reminded of the enduring critics of
an earlier generation that is associated with New York City: Lionel
Trilling, Philip Rahv, Irving Howe. He has their catholicity of
taste, wide-ranging ease of reference, original perspective, and
idiomatic style. You are struck by how he can reveal angles of a
classic work such as Ford's Good Soldier or James's "Beast in the
Jungle" that have been overlooked by the legions of critics who
have already considered that work. Goodheart is one of the few
critics today who is worth rereading." --George Core, editor, The
Sewanee Review "In earlier books a penetrating investigator of
contemporary cultural and ideological controversy, Eugene Goodheart
here surveys a range of classic modern fiction and related
writings, exploring each work's and each author's emphases and
contradictions against the relevant private or public background.
In every instance it is the intelligence of the writer's reflection
and of these determining backgrounds that serves as the critical
focus. Frankly concerned with the "messages" conveyed by works of
literature, his new book also stands as a long defense of
narrational realism, not excluding those novels that pretend to
live by language alone or by various deconstructive sophistries."
--Warner Berthoff, professor emeritus, Harvard University "In the
.subtle and probing essays collected in Novel Practices, Eugene
Goodheart writes as both a sensitive reader of modern fiction and
an analytic thinker shedding light on vital literary questions. On
Philip Roth, for example, he offers not only a strong reading of
Roth's late novels and curious memoir but also a illuminating
account of the vexed relations between autobiography and fiction.
This is a welcome book for any serious student of modern writing."
--Morris Dickstein, Distinguished Professor of English, Graduate
Center, City University of New York
"It is inspiriting to have a new collection of Eugene Goodheart's
critical essays. He is one of our best --our most useful--critics.
W. B. Yeats spoke of the need to hold reality and justice in a
single thought.' Goodheart knows the need and works hard to fulfill
it. He never struts in the presence of the book he is reading, but
is always (as if by nature and on principle) attentive, acute,
alive to the issues. No writer could ask for a better reader or a
more conscientious intelligence." --Denis Donoghue, New York
University
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