New Releases by Frank Kermode

Creative Lives and Works: Raymond Firth, Audrey Richards, Lucy Mair, Meyer Fortes and Edmund Leach is a collection of interviews conducted by one of England’s leading social anthropologists and historians, Professor Alan Macfarlane. Filmed over a period of 40 years, the five conversations in this volume, are part of a larger set of interviews that cut across various disciplines, from the social sciences, the sciences to the performing and visual arts. The current volume on five of England’s foremost social anthropologists is the second in the series of several such books. These conversations and talks are interlaced with rich ethnography and interpretations of distant civilizations and the very real practices that enable these tribal societies and cultures to thrive. There are several teaching moments in these engaging conversations which are further enriched by detailed personal experiences that each of the five shares. Sir Raymond Firth gives us an insight into his Polynesian experience, while Audrey Richards and Lucy Mair recall their days in the African hinterland. Meyer Fortes’s account of his tribal study, yet again in the African subcontinent, is mesmeric, while Sir Edmund Leach’s Southeast Asian encounters are just as enthralling. Immensely riveting as conversations, this collection gives one a flavour of how tribal societies live and work. The book will be of enormous value not just to those interested in learning about tribal societies and cultures, and those interested in History, Culture Studies, but also to those curious to gather knowledge about other cultures. Please note: This title is co-published with Social Science Press, New Delhi. Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.

«Esiste ancora un bisogno di parlare in termini umani dell'importanza della vita: un bisogno, che ci accompagna durante l'esistenza, di appartenersi, di potersi riferire a un inizio e a una fine.» Qual è il rapporto tra romanzo e Apocalisse? In apparenza nessuno. Ma non è quello che pensa Frank Kermode, uno dei più importanti critici letterari del Novecento. La sua tesi, in questo libro ritenuto un classico, è che solo il romanzo abbia ereditato dall'immaginario apocalittico – in un'epoca secolarizzata come la modernità – quel «senso della fine» in cui trova forma la nostra umana pretesa che la vita abbia una struttura, un compimento, e non sia un lento sgocciolare verso il non essere attraverso le riarse sterpaglie del non senso. Apocalisse e romanzo postulano invece un disegno, una trama, una figura di destino, un «non ancora» saturo di possibilità che riscatti e dia senso anche a ciò che è già stato. Il senso della fine è oggi attualissimo, ora che l'immagine dell'Apocalisse, nella forma della catastrofe ecologica da noi stessi provocata, è tornata a bussare alle nostre porte, agitata da profeti veri o falsi che siano.

In this book, which was first published in 1983, Frank Kermode looks in particular at the revived Russian Formalism, a highly original body of literary theory that flourished in the years immediately following the Revolution, and at the work of Roman Jakobson, one of its most distinguished exponents. He discusses its modern ‘structuralist’ descendants, recalling the importance of Roland Barthes and the invigorating effect of his fertile and surprising mind. He considers also the work of Foucault, Laca and Levi-Strauss, as well as that of Jacques Derrida, which uses a novel and de(con)structive method of analysis to question to tacit assumptions on which structuralism is based. In an opening chapter, Professor Kermode surveys his relationship with the new theory, explaining that it is a relation from which he has benefited without ever feeling disposed to join a movement. These essays will be of interest to students of literature.

Continuities, first published in 1968, is a collection of reviews by Frank Kermode that appeared from 1962 to 1967. Kermode discusses a variety of novelists, poets, and critics, including T. S. Eliot, Northrop Frye, Wallace Stevens, Edmund Wilson, and Wallace Stevens. History and politics are two important aspects that are discussed in regards to these writers. This book is ideal for students of English literature.

Sir Frank Kermode is acknowledged as one of the greatest critics of our time, renowned for the wit humanity and good sense of his writing. Pleasing Myself brings together the very best of his shorter pieces, on topics ranging from Donne and Yeats to modern art and money.

Frank Kermode is one of the pre-eminent practitioners of the art of criticism in the English speaking world. It has been his distinction to make a virtue – as all the best critics have done – of the necessarily occasional nature of his profession. That virtue is evident on every page of this collection of essays. In one group of essays he asks the reader to share his pleasure in a number of major writers – Milton, T.S. Eliot, Wallace Stevens. In another, he discusses ideas about problems in biblical criticism and their implications for the study of narrative in particular and the interpretation of secular literary texts in general. In them he gives clear accounts of questions relating to interpretation and the debate about canons. A key essay looks at the career of William Empson, a career lived between literature and criticism, between the pleasure of the text and the delight in conceptual issues which is characteristic of so much of the contemporary taste for theory. It is Empson''s career, perhaps, which is the foundation for the polemical prologue to the book, where Kermode challenges those who doubt the possibility (and the necessity) of the cross-over between literature and criticism, and who argue that criticism is mere appreciation, mere connoisseurship, that theory has displaced criticism and has left literature in the dust, that theory is the avant-garde of critical thought. This piece defines the author''s position in the debate about literature and value.

Sir Frank Kermode, the British scholar, instructor, and author, was an inspired critic. Forms of Attention is based on a series of three lectures he gave on canon formation, or how we choose what art to value. The essay on Botticelli traces the artist''s sudden popularity in the nineteenth century for reasons that have more to do with poetry than painting. In the second essay, Kermode reads Hamlet from a very modern angle, offering a useful (and playful) perspective for a contemporary audience. The final essay is a defense of literary criticism as a process and conversation that, while often conflating knowledge with opinion, keeps us reading great art and working with—and for—literature.

In The Age of Shakespeare, Frank Kermode uses the history and culture of the Elizabethan era to enlighten us about William Shakespeare and his poetry and plays. Opening with the big picture of the religious and dynastic events that defined England in the age of the Tudors, Kermode takes the reader on a tour of Shakespeare’s England, vividly portraying London’s society, its early capitalism, its court, its bursting population, and its epidemics, as well as its arts—including, of course, its theater. Then Kermode focuses on Shakespeare himself and his career, all in the context of the time in which he lived. Kermode reads each play against the backdrop of its probable year of composition, providing new historical insights into Shakspeare’s characters, themes, and sources. The result is an important, lasting, and concise companion guide to the works of Shakespeare by one of our most eminent literary scholars.

The question of the canon has been the subject of debate in academic circles for over fifteen years. Pleasure and Change contains two lectures on this important subject by the distinguished literary critic Sir Frank Kermode. In essays that were originally delivered as Tanner Lectures at Berkeley in November of 2001, Kermode reinterprets the question of canon formation in light of two related and central notions: pleasure and change. He asks how aesthetic pleasure informs what we find valuable, and how this perception changes over time. Kermode also explores the role of chance, observing the connections between canon formation and unintentional and sometimes even random circumstance. Geoffrey Hartmann (Yale University), John Guillory (New York University), and Carey Perloff (director of the American Conservatory Theatre) offer incisive comments on these essays, to which Kermode responds in a lively rejoinder. The volume begins with a helpful introduction by Robert Alter. The result is a stimulating and accessible discussion of a highly significant cultural debate.

The great English tragedies were written in the first decade of the 17th cent.; the best, by far, were by Shakespeare. These great plays are inescapably associated with kinds of language which are difficult for us, & must have been hard for Shakespeare''s contemporaries. Something happened to Shakespeare''s language in mid-career, somewhere around 1600. We feel the pace of this language, its sudden turns & backtrackings, its metaphors flashing before us & disappearing even before we can grasp them.Ó Discusses the language of the earlier plays, looking for signs as to what was afoot, & then studies what came after that, in the great works between Hamlet & The Tempest.

This classic work, back in print for the first time in over a decade, questions the public''s harsh perception of the artist, while at the same time gently poking fun at the artists'' own, often inflated self-image.

Frank Kermode is one of our most distinguished critics of English literature. Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literature with "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas.

Can you remember what happens at the end of 1984? Or what triggered Quentin Compson's suicide in The Sound and the Fury? Perhaps you need to know who won the National Book Award in 1960, how many times the Booker Prize has been awarded to non-British writers, or what novels people were reading the year the Titanic sank. The answers to all these questions, and many more, can now be found in A Reader's Guide to the Twentieth-Century Novel. Wide-ranging and authoritative, A Reader's Guide to the Twentieth-Century Novel is a unique and invaluable guide to modern fiction written in English. Arranged chronologically from Joseph Conrad's Lord Jim to E. Annie Proulx's The Shipping News, it contains detailed accounts of some 750 novels from the United States, Britain, Ireland, Canada, Africa, India, Australia, New Zealand, and the Caribbean. All of the century's major novelists are represented, alongside less-celebrated writers whose work has been unjustly neglected; such beloved children's authors as A.A. Milne, Frances Hodgson Burnett, and Kenneth Grahame, and such popular authors as Agatha Christie, Ian Fleming, Daphne Du Maurier, and others whose work has left a definite stamp on readers' imaginations. Each lively entry supplies a summary of the plot, places the novel in a biographical and historical context, and provides a provocative critical assessment. Written by a team of thirty-eight contributors made up of critics, biographers, novelists, historians, academics, and literary journalists, all entries are fully cross-referenced and supplemented at the end of the book by brief biographical notes on all authors and by helpful alphabetical indexes of novels and authors. Interwoven with the entries are also 150 short extracts illustrating the voice and style of many featured novels, from Rudyard Kipling's Kim to Roddy Doyle's Paddy Clarke Ha Ha Ha. The chronological arrangement of the Guide gives readers fascinating insight into the sorts of books people were reading at any given period, and each year is prefaced by a selection of contemporary events from the worlds of the arts, science, and politics, revealing the background against which novels were written and published. This arrangement also allows readers to trace the literary history of twentieth-century fiction and to follow the development of individual authors. A celebration of modern fiction and an indispensable aide-memoire, A Reader's Guide to the Twentieth-Century Novel is a book to be read for pleasure as well as consulted for reference.

This book is a record of Kermode''s "error," his wandering through literature past and present. He notes that "in thirty-odd years I have written several hundred reviews, an example I would strongly urge the young not to follow." From these Kermode has selected the pieces he treasures most; they provide an example that will be difficult to follow.

Frank Kermode here returns to the literature of his youth to ask why we seem to have forgotten how urgent and powerful this literature was during a time of economic crisis and imminent world war, discussing bourgeois left-wing writing in England in the 1930s--and, to a lesser extent, in the United States--and addressing the more general question of how literature dies or survives and how we decide whether to attribute value to it.

Frank Kermode assesses the revolutionary transformations in literary criticism over the last fifteen years and places them in historical perspective. Examining novels ranging in scope from a 1907 bestseller to the avant-garde works of various periods, he includes such writers as Conrad, Ford Madox Ford, Michel Butor, and Thomas Pynchon.

An examination of some enigmatic passages and episodes in the gospels.