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bridegam

External


Since: Jun 27, 2003
Posts: 628



(Msg. 16) Posted: Tue Mar 06, 2007 5:23 pm
Post subject: Re: Top 10 (Anthony Powell sub-thread) [Login to view extended thread Info.]
Archived from groups: alt>books>george-orwell (more info?)

jmm1951 wrote:
....
>
> The Guardian's list looks an awful lot like a school reading list, and
> very pretentious one at that. Of course many people would want the
> Harry Potter books to keep the children quiet.
>
> Personally I would want an English dictionary, and an English-Spanish
> dictionary, and then Merck Manual of Medicine, while I can live well
> without it, would be pretty useful if I was sick to tell me whether I
> was likely to live or die. An atlas is definitely useful, and an
> encylopedia of carpentry, home electrics, and plumbing is essential.
> So that is half of my ten books, but at least I will be able to build
> a shelf to put them on. I am surprised that Paul Theroux doesn't seem
> to be on anyone's list, because I would definitely have two or three
> of his, though I, like the Guardian readers, would probably by-pass
> Bill Bryson as just too silly. Fanny Hill, Memoirs of a Woman of
> Pleasure would be useful bedtime reading, I would take all four
> volumes of CEJL, so that probably puts me over my baggage allowance
> already. I would not bother with the Bible, though Origin of Species
> would serve the purpose and is a pretty good read for when you start
> wondering where we came from and where the hell we are going. I don't
> think I would bother with Shakey or Dickens. They both fire off some
> good one-liners, but I can't get into the books.
>
> The Da Vinci Code might be useful for toilet paper or for lighting
> fires.
>
> If could get hold of a book I had in 1959 called Masters of Soccer,
> then I would like to read that again, also the Beano annual of 1960.
> For my final selection I would take the French Lieutenant's Woman,
> which may not be a great book, but it has its moments.
>

You wouldn't want something written in Spanish to read using the dictionary?

/M

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ROBBIE

External


Since: Aug 11, 2006
Posts: 104



(Msg. 17) Posted: Sat Mar 10, 2007 10:30 am
Post subject: Re: Top 10 (Anthony Powell sub-thread) [Login to view extended thread Info.]
Archived from groups: per prev. post (more info?)

"Martha Bridegam" <bridegam.TakeThisOut@pacbell.net> wrote in message
news:eEFHh.7798$re4.5808@newssvr12.news.prodigy.net...

>
> Maybe this is a more interesting idea phrased as a general question: does
> a book, to be well written, have to stay at a consistent level of realism
> throughout?


Well I think realism can be a bit overrated at times. Not that I'm much up
for magic realism and all that bollox. When Nigel N read a draft of my
latest romance he objected to these two passages:

At a party where someone's been shot:

'They both went downstairs into a mist of smoke and overpowering din of
music. John noticed the spots of blood from the fashion designer's wound in
the hallway. A policeman idly rolled a joint as someone shouted a statement
in his ear.'


And this, outside a shop, looking at its logo:


'I don't like it,' said John, 'it looks a bit poncy.'
He felt a sharp tap on his back. Turning, he found himself facing a
mean-looking policeman wearing a fluorescent tabard, holding a long stick
and on whose waist jangled the paramilitary appurtenances of postmodern law
enforcement.
'What did you say?' he demanded with brute authority.
'I said it looked a bit.poncy.'
The last word of the sentence was obliterated by the sound of a bottle
thrown at a passing car smashing on its passenger window. The policeman
repeated his question. John answered.
'You do realise that's a potential hate crime against homosexuals?' the
policeman said nastily, in the archetypal accent and inflection of a London
copper.
'Come off it,' said John, who was half-drunk. He turned to seek Gimmick's
support but he'd disappeared into the crowds with Tina.
'He didn't mean it like that,' said Amanda.
'How do you know what he meant? Are you inside his head?'
People drunkenly pushed past them.
'No, but I know that he wasn't being hateful towards homosexuals.'
'Intcha read any Michel Foucault?' asked the policeman, raising his radio
to his lips.
'A bit,' said John.
'2-1,' said the policeman into his radio. 'Got section
six-three-nine-two-four here. Back up needed.' The policeman looked at John
again. 'Foucault was a post-structuralist, basically. The structuralists
believed that the individual is shaped by linguistic, sociological and
psychological structures over which he has little control. In that respect I
have sympathy for you. That's my Derrida sympathies coming out as well. But
the law is the law - even though a final and definitive interpretation of it
is, by Derrida's standards, impossible. However, it isn't my job to
interpret the law - that is a magistrates' job.'
A large shaven-headed man in a football kit swiped the policeman's helmet
off and danced around with it for a bit.
'This guy here is responding to certain pathological deep structures,'
said the policeman calmly, indicating the man. 'But at the same time, he,
unlike you, is not indulging or promulgating prejudice or bigotry to sexual,
racial or gender differences, know what I mean?'
'Isn't he making you look foolish though?' asked John.
'A righteous thing to do in many ways,' said a second policeman who had
just got out of a flashing and squawking patrol car; 'a subversion of the
hegemonic debate and all that.'
'Gramsci,' beamed the first policeman by way of explanation. The second
policeman retrieved the first policeman's helmet. 'Come on,' he said, 'leave
this - a barman called someone a 'wop' at the Cod's Eye.'
'Did he? Right,' said the first policeman. He turned to John and raised
his finger to the sign: 'remember what we discussed.'
The patrol car squealed away. John and Amanda walked on quickly, hoping to
catch Gimmick and Tina up. The crowds seemed uglier. Someone threw a petrol
bomb at a tram and it rumbled past with a slather of flames discolouring the
advertising on its side. Inside, people stared placidly through the windows.



Now the realistic novel forbades both. But I want them to make points in an
amusing way. 'Reality', as Orwell said about Tropic of Cancer, 'but not so
much that it turns into Mickey Mouse' *

*paraphrasing from memory.

So I don't think a consistent level of realism is the way to judge good
writing - that puts Harold Robbins in front of Ronald Firbank and that ain't
my critical perspective.

ROBBIE


ROBBIE

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ROBBIE

External


Since: Aug 11, 2006
Posts: 104



(Msg. 18) Posted: Sat Mar 10, 2007 10:37 am
Post subject: Re: Top 10 (Anthony Powell sub-thread) [Login to view extended thread Info.]
Archived from groups: per prev. post (more info?)

"ROBBIE" <hjkhjkhd.DeleteThis@hhhh.com> wrote in message
news:A96dnbbfna0uFW_YnZ2dnUVZ8seinZ2d@bt.com...
>
> "Martha Bridegam" <bridegam.DeleteThis@pacbell.net> wrote in message
> news:eEFHh.7798$re4.5808@newssvr12.news.prodigy.net...
>
>>
>> Maybe this is a more interesting idea phrased as a general question: does
>> a book, to be well written, have to stay at a consistent level of realism
>> throughout?
>
>
> Well I think realism can be a bit overrated at times. Not that I'm much up
> for magic realism and all that bollox. When Nigel N read a draft of my
> latest romance he objected to these two passages:
>
> At a party where someone's been shot:
>
> 'They both went downstairs into a mist of smoke and overpowering din of
> music. John noticed the spots of blood from the fashion designer's wound
> in the hallway. A policeman idly rolled a joint as someone shouted a
> statement in his ear.'
>
>
> And this, outside a shop, looking at its logo:
>
>
> 'I don't like it,' said John, 'it looks a bit poncy.'
> He felt a sharp tap on his back. Turning, he found himself facing a
> mean-looking policeman wearing a fluorescent tabard, holding a long stick
> and on whose waist jangled the paramilitary appurtenances of postmodern
> law enforcement.
> 'What did you say?' he demanded with brute authority.
> 'I said it looked a bit.poncy.'
> The last word of the sentence was obliterated by the sound of a bottle
> thrown at a passing car smashing on its passenger window. The policeman
> repeated his question. John answered.
> 'You do realise that's a potential hate crime against homosexuals?' the
> policeman said nastily, in the archetypal accent and inflection of a
> London copper.
> 'Come off it,' said John, who was half-drunk. He turned to seek Gimmick's
> support but he'd disappeared into the crowds with Tina.
> 'He didn't mean it like that,' said Amanda.
> 'How do you know what he meant? Are you inside his head?'
> People drunkenly pushed past them.
> 'No, but I know that he wasn't being hateful towards homosexuals.'
> 'Intcha read any Michel Foucault?' asked the policeman, raising his radio
> to his lips.
> 'A bit,' said John.
> '2-1,' said the policeman into his radio. 'Got section
> six-three-nine-two-four here. Back up needed.' The policeman looked at
> John again. 'Foucault was a post-structuralist, basically. The
> structuralists believed that the individual is shaped by linguistic,
> sociological and psychological structures over which he has little
> control. In that respect I have sympathy for you. That's my Derrida
> sympathies coming out as well. But the law is the law - even though a
> final and definitive interpretation of it is, by Derrida's standards,
> impossible. However, it isn't my job to interpret the law - that is a
> magistrates' job.'
> A large shaven-headed man in a football kit swiped the policeman's helmet
> off and danced around with it for a bit.
> 'This guy here is responding to certain pathological deep structures,'
> said the policeman calmly, indicating the man. 'But at the same time, he,
> unlike you, is not indulging or promulgating prejudice or bigotry to
> sexual, racial or gender differences, know what I mean?'
> 'Isn't he making you look foolish though?' asked John.
> 'A righteous thing to do in many ways,' said a second policeman who had
> just got out of a flashing and squawking patrol car; 'a subversion of the
> hegemonic debate and all that.'
> 'Gramsci,' beamed the first policeman by way of explanation. The second
> policeman retrieved the first policeman's helmet. 'Come on,' he said,
> 'leave this - a barman called someone a 'wop' at the Cod's Eye.'
> 'Did he? Right,' said the first policeman. He turned to John and raised
> his finger to the sign: 'remember what we discussed.'
> The patrol car squealed away. John and Amanda walked on quickly, hoping
> to catch Gimmick and Tina up. The crowds seemed uglier. Someone threw a
> petrol bomb at a tram and it rumbled past with a slather of flames
> discolouring the advertising on its side. Inside, people stared placidly
> through the windows.
>
>
>
> Now the realistic novel forbades both. But I want them to make points in
> an amusing way. 'Reality' SLIPPED, as Orwell said about Tropic of Cancer,
> 'but not so much that it turns into Mickey Mouse' *

ROBBIE
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bridegam

External


Since: Jun 27, 2003
Posts: 628



(Msg. 19) Posted: Sat Mar 10, 2007 7:13 pm
Post subject: Re: Top 10 (Anthony Powell sub-thread) [Login to view extended thread Info.]
Archived from groups: per prev. post (more info?)

ROBBIE wrote:
> "Martha Bridegam" <bridegam RemoveThis @pacbell.net> wrote in message
> news:eEFHh.7798$re4.5808@newssvr12.news.prodigy.net...
>
>> Maybe this is a more interesting idea phrased as a general question: does
>> a book, to be well written, have to stay at a consistent level of realism
>> throughout?
>
>
> Well I think realism can be a bit overrated at times. Not that I'm much up
> for magic realism and all that bollox. When Nigel N read a draft of my
> latest romance he objected to these two passages:
>
> At a party where someone's been shot:
>
> 'They both went downstairs into a mist of smoke and overpowering din of
> music. John noticed the spots of blood from the fashion designer's wound in
> the hallway. A policeman idly rolled a joint as someone shouted a statement
> in his ear.'
>
>
> And this, outside a shop, looking at its logo:
>
>
> 'I don't like it,' said John, 'it looks a bit poncy.'
> He felt a sharp tap on his back. Turning, he found himself facing a
> mean-looking policeman wearing a fluorescent tabard, holding a long stick
> and on whose waist jangled the paramilitary appurtenances of postmodern law
> enforcement.
> 'What did you say?' he demanded with brute authority.
> 'I said it looked a bit.poncy.'
> The last word of the sentence was obliterated by the sound of a bottle
> thrown at a passing car smashing on its passenger window. The policeman
> repeated his question. John answered.
> 'You do realise that's a potential hate crime against homosexuals?' the
> policeman said nastily, in the archetypal accent and inflection of a London
> copper.
> 'Come off it,' said John, who was half-drunk. He turned to seek Gimmick's
> support but he'd disappeared into the crowds with Tina.
> 'He didn't mean it like that,' said Amanda.
> 'How do you know what he meant? Are you inside his head?'
> People drunkenly pushed past them.
> 'No, but I know that he wasn't being hateful towards homosexuals.'
> 'Intcha read any Michel Foucault?' asked the policeman, raising his radio
> to his lips.
> 'A bit,' said John.
> '2-1,' said the policeman into his radio. 'Got section
> six-three-nine-two-four here. Back up needed.' The policeman looked at John
> again. 'Foucault was a post-structuralist, basically. The structuralists
> believed that the individual is shaped by linguistic, sociological and
> psychological structures over which he has little control. In that respect I
> have sympathy for you. That's my Derrida sympathies coming out as well. But
> the law is the law - even though a final and definitive interpretation of it
> is, by Derrida's standards, impossible. However, it isn't my job to
> interpret the law - that is a magistrates' job.'
> A large shaven-headed man in a football kit swiped the policeman's helmet
> off and danced around with it for a bit.
> 'This guy here is responding to certain pathological deep structures,'
> said the policeman calmly, indicating the man. 'But at the same time, he,
> unlike you, is not indulging or promulgating prejudice or bigotry to sexual,
> racial or gender differences, know what I mean?'
> 'Isn't he making you look foolish though?' asked John.
> 'A righteous thing to do in many ways,' said a second policeman who had
> just got out of a flashing and squawking patrol car; 'a subversion of the
> hegemonic debate and all that.'
> 'Gramsci,' beamed the first policeman by way of explanation. The second
> policeman retrieved the first policeman's helmet. 'Come on,' he said, 'leave
> this - a barman called someone a 'wop' at the Cod's Eye.'
> 'Did he? Right,' said the first policeman. He turned to John and raised
> his finger to the sign: 'remember what we discussed.'
> The patrol car squealed away. John and Amanda walked on quickly, hoping to
> catch Gimmick and Tina up. The crowds seemed uglier. Someone threw a petrol
> bomb at a tram and it rumbled past with a slather of flames discolouring the
> advertising on its side. Inside, people stared placidly through the windows.
>
>
>
> Now the realistic novel forbades both. But I want them to make points in an
> amusing way. 'Reality', as Orwell said about Tropic of Cancer, 'but not so
> much that it turns into Mickey Mouse' *
>
> *paraphrasing from memory.
>
> So I don't think a consistent level of realism is the way to judge good
> writing - that puts Harold Robbins in front of Ronald Firbank and that ain't
> my critical perspective.
>
> ROBBIE
>
>
> ROBBIE
>
>

"Forbids," you mean. It "forbids both." Fowler's Modern English Usage,
1952 edition, page 186. I'll let you off with a warning this time but in
case of additional violation this incident may be cited as evidence of a
continuing offense.

My question isn't whether a level of realism close to reality must be
maintained. That would certainly be dull. It's whether, once having
given the reader to understand that the work is satire, comedy or
fantasy, you can suddenly go realistic without warning -- or suddenly
leap into satire or fantasy in the midst of a realistic novel. It's the
lack of warning to the reader that can be unsettling. Sometimes the
reader gets adequate warning that the story has just lifted off the
ground, e.g. by the play-script typography of Joyce's "Nighttown"
chapter (or Orwell's imitation thereof in *Clergyman's Daughter*). Or
sometimes the story stays at the same level of fantasy all the way
through, e.g. in Gulliver's Travels or for that matter your Mr. Firbank.
And, OK, sometimes the sudden break from comedy into realism works, as
in "The Meaning of Life" where the waiter walks out of the awful
restaurant sketch and explains perfectly seriously that he became a
waiter to make people happy, then becomes disgusted at an audience
following him around expecting him to be funny. On the other hand I
dunno about, for example, the surreal interludes in "Family Guy." The
family sits around talking and then suddenly the dad is fighting with a
monkey in a helicopter. Why?

So, I mean, there are intentional jolts to the reader that have an
artistic purpose. But then there are just plain old gratuitous jolts
like stretches of bad pavement on the highway. Of course deciding which
is which is a matter of taste, but it's something to think about
seriously, no?

/M
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ROBBIE

External


Since: Aug 11, 2006
Posts: 104



(Msg. 20) Posted: Sun Mar 11, 2007 10:08 am
Post subject: Re: Top 10 (Anthony Powell sub-thread) [Login to view extended thread Info.]
Archived from groups: per prev. post (more info?)

"Martha Bridegam" <bridegam RemoveThis @pacbell.net> wrote in message
news:FrDIh.9131$jx3.5358@newssvr25.news.prodigy.net...
> ROBBIE wrote:
>> "Martha Bridegam" <bridegam RemoveThis @pacbell.net> wrote in message
>> news:eEFHh.7798$re4.5808@newssvr12.news.prodigy.net...
>>
>>> Maybe this is a more interesting idea phrased as a general question:
>>> does a book, to be well written, have to stay at a consistent level of
>>> realism throughout?
>>
>>
>> Well I think realism can be a bit overrated at times. Not that I'm much
>> up for magic realism and all that bollox. When Nigel N read a draft of my
>> latest romance he objected to these two passages:
>>
>> At a party where someone's been shot:
>>
>> 'They both went downstairs into a mist of smoke and overpowering din of
>> music. John noticed the spots of blood from the fashion designer's wound
>> in the hallway. A policeman idly rolled a joint as someone shouted a
>> statement in his ear.'
>>
>>
>> And this, outside a shop, looking at its logo:
>>
>>
>> 'I don't like it,' said John, 'it looks a bit poncy.'
>> He felt a sharp tap on his back. Turning, he found himself facing a
>> mean-looking policeman wearing a fluorescent tabard, holding a long stick
>> and on whose waist jangled the paramilitary appurtenances of postmodern
>> law enforcement.
>> 'What did you say?' he demanded with brute authority.
>> 'I said it looked a bit.poncy.'
>> The last word of the sentence was obliterated by the sound of a bottle
>> thrown at a passing car smashing on its passenger window. The policeman
>> repeated his question. John answered.
>> 'You do realise that's a potential hate crime against homosexuals?' the
>> policeman said nastily, in the archetypal accent and inflection of a
>> London copper.
>> 'Come off it,' said John, who was half-drunk. He turned to seek
>> Gimmick's support but he'd disappeared into the crowds with Tina.
>> 'He didn't mean it like that,' said Amanda.
>> 'How do you know what he meant? Are you inside his head?'
>> People drunkenly pushed past them.
>> 'No, but I know that he wasn't being hateful towards homosexuals.'
>> 'Intcha read any Michel Foucault?' asked the policeman, raising his
>> radio to his lips.
>> 'A bit,' said John.
>> '2-1,' said the policeman into his radio. 'Got section
>> six-three-nine-two-four here. Back up needed.' The policeman looked at
>> John again. 'Foucault was a post-structuralist, basically. The
>> structuralists believed that the individual is shaped by linguistic,
>> sociological and psychological structures over which he has little
>> control. In that respect I have sympathy for you. That's my Derrida
>> sympathies coming out as well. But the law is the law - even though a
>> final and definitive interpretation of it is, by Derrida's standards,
>> impossible. However, it isn't my job to interpret the law - that is a
>> magistrates' job.'
>> A large shaven-headed man in a football kit swiped the policeman's
>> helmet off and danced around with it for a bit.
>> 'This guy here is responding to certain pathological deep structures,'
>> said the policeman calmly, indicating the man. 'But at the same time, he,
>> unlike you, is not indulging or promulgating prejudice or bigotry to
>> sexual, racial or gender differences, know what I mean?'
>> 'Isn't he making you look foolish though?' asked John.
>> 'A righteous thing to do in many ways,' said a second policeman who had
>> just got out of a flashing and squawking patrol car; 'a subversion of the
>> hegemonic debate and all that.'
>> 'Gramsci,' beamed the first policeman by way of explanation. The second
>> policeman retrieved the first policeman's helmet. 'Come on,' he said,
>> 'leave this - a barman called someone a 'wop' at the Cod's Eye.'
>> 'Did he? Right,' said the first policeman. He turned to John and
>> raised his finger to the sign: 'remember what we discussed.'
>> The patrol car squealed away. John and Amanda walked on quickly, hoping
>> to catch Gimmick and Tina up. The crowds seemed uglier. Someone threw a
>> petrol bomb at a tram and it rumbled past with a slather of flames
>> discolouring the advertising on its side. Inside, people stared placidly
>> through the windows.
>>
>>
>>
>> Now the realistic novel forbades both. But I want them to make points in
>> an amusing way. 'Reality', as Orwell said about Tropic of Cancer, 'but
>> not so much that it turns into Mickey Mouse' *
>>
>> *paraphrasing from memory.
>>
>> So I don't think a consistent level of realism is the way to judge good
>> writing - that puts Harold Robbins in front of Ronald Firbank and that
>> ain't my critical perspective.
>>
>> ROBBIE
>>
>>
>> ROBBIE
>
> "Forbids," you mean. It "forbids both." Fowler's Modern English Usage,
> 1952 edition, page 186. I'll let you off with a warning this time but in
> case of additional violation this incident may be cited as evidence of a
> continuing offense.


I think it was Alan Allport -- and my granny and everybody else's -- who was
fond of advising: if you can't say anything nice about ______ don't say
anything at all. I know it was one of your 'jokes' but...the copy subbing of
newsgroup posts is the last refuge of an outraged pedant.

I've got into this thing about subsituting forbade for forbid. It's mad and
I don't even notice it till afterwards.


>
> My question isn't whether a level of realism close to reality must be
> maintained. That would certainly be dull. It's whether, once having given
> the reader to understand that the work is satire, comedy or fantasy, you
> can suddenly go realistic without warning -- or suddenly leap into satire
> or fantasy in the midst of a realistic novel. It's the lack of warning to
> the reader that can be unsettling. Sometimes the reader gets adequate
> warning that the story has just lifted off the ground, e.g. by the
> play-script typography of Joyce's "Nighttown" chapter (or Orwell's
> imitation thereof in *Clergyman's Daughter*). Or sometimes the story stays
> at the same level of fantasy all the way through, e.g. in Gulliver's
> Travels or for that matter your Mr. Firbank.


Bogart accent: 'He's not particularly *my* Mr Firbank.


> And, OK, sometimes the sudden break from comedy into realism works, as in
> "The Meaning of Life"

I thought P-eye- thonnnn would come into it. You should get into the Bonzo
Dog Band - one of the best sixties bands and a direct and rarely
acknowledged influence on Python and most British comedy that came after.
Mayall, Edmondson and all that ghastly lot. The Bonzos were doing the Python
waiter thing in 1967, walking out of a live recording session and stopping
people in the street and asking them about shirts.


where the waiter walks out of the awful
> restaurant sketch and explains perfectly seriously that he became a waiter
> to make people happy, then becomes disgusted at an audience following him
> around expecting him to be funny. On the other hand I dunno about, for
> example, the surreal interludes in "Family Guy." The family sits around
> talking and then suddenly the dad is fighting with a monkey in a
> helicopter. Why?
>
> So, I mean, there are intentional jolts to the reader that have an
> artistic purpose. But then there are just plain old gratuitous jolts like
> stretches of bad pavement on the highway. Of course deciding which is
> which is a matter of taste, but it's something to think about seriously,
> no?
>

Well I already have and continue to do so. Nigel, who very kindly read and
commented on the MS, marked 'too implausible' underneath the petrol bomb
passage but I thought: is Otto Silenus's destruction of the stately home and
the 11-year-old Peter Beste-Chetwynde mixing himself brandy and sodas in
Decline and Fall 'too implausible'? Granted, Decline and Fall sets out its
shop from the first page - what Malcolm Bradbury called 'a universe of
vigorous and bleak chaos'. Given that my novel begins with the line '"Jeremy
thinks he's a unicorn"' I think mine sets out its shop early too. I think
the novel form still has room for extravaganzas and farragos - not saying
mine is, it isn't (well, compared to Nick Hornby and similar it is an
extravaganza).

ROBBIE
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bridegam

External


Since: Jun 27, 2003
Posts: 628



(Msg. 21) Posted: Sun Mar 11, 2007 1:56 pm
Post subject: Re: Top 10 (Anthony Powell sub-thread) [Login to view extended thread Info.]
Archived from groups: per prev. post (more info?)

ROBBIE wrote:
>>...Or sometimes the story stays
>> at the same level of fantasy all the way through, e.g. in Gulliver's
>> Travels or for that matter your Mr. Firbank.
>
>
> Bogart accent: 'He's not particularly *my* Mr Firbank.

Right on cue.

....
>>
>> So, I mean, there are intentional jolts to the reader that have an
>> artistic purpose. But then there are just plain old gratuitous jolts like
>> stretches of bad pavement on the highway. Of course deciding which is
>> which is a matter of taste, but it's something to think about seriously,
>> no?
>>
>
> Well I already have and continue to do so. Nigel, who very kindly read and
> commented on the MS, marked 'too implausible' underneath the petrol bomb
> passage but I thought: is Otto Silenus's destruction of the stately home and
> the 11-year-old Peter Beste-Chetwynde mixing himself brandy and sodas in
> Decline and Fall 'too implausible'? Granted, Decline and Fall sets out its
> shop from the first page - what Malcolm Bradbury called 'a universe of
> vigorous and bleak chaos'. Given that my novel begins with the line '"Jeremy
> thinks he's a unicorn"' I think mine sets out its shop early too. I think
> the novel form still has room for extravaganzas and farragos - not saying
> mine is, it isn't (well, compared to Nick Hornby and similar it is an
> extravaganza).
>
> ROBBIE
>
>

Yes. "Setting out its shop" is the necessary part. If not internal
consistency, then at least a consistent level of inconsistency. I even
bet Nigel would agree.

/M
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ROBBIE

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Since: Aug 11, 2006
Posts: 104



(Msg. 22) Posted: Sun Mar 11, 2007 2:21 pm
Post subject: Re: Top 10 [Login to view extended thread Info.]
Archived from groups: per prev. post (more info?)

"Martha Bridegam" <bridegam.DeleteThis@pacbell.net> wrote in message
news:0z5Gh.868$uo3.465@newssvr14.news.prodigy.net...
> georgeorwell.DeleteThis@email.com wrote:
>> On 2 mar, 18:37, Martha Bridegam <bride....DeleteThis@pacbell.net> wrote:
>>> georgeorw....DeleteThis@email.com wrote:
>>>> On 1 mar, 15:40, "Adam" <vaneyc....DeleteThis@hotmail.com> wrote:
>>>>> Martha Bridegam wrote:
>>>>>> georgeorw....DeleteThis@email.com wrote:
>>>>>>> It's world book day - who knew?
>>>>>>> http://www.guardian.co.uk/frontpage/story/0,,2023899,00.html
>>>>>>> People nominated the top ten titles that they could not live
>>>>>>> without.
>>>>>>> Some good and some bad and some that I would pick also. I made up
>>>>>>> my
>>>>>>> own list and sticking strictly to the criteria 'can't live without',
>>>>>>> nothing by Orwell is on it - though I would pick the CEJL if it
>>>>>>> could
>>>>>>> pass as one book.
>>>>>>> B.
>>>>>> Looks to me like *1984* is tied for eighth.
>>>>>> But do you think these are the books people really love most, or are
>>>>>> they the ones they think they ought to love most?
>>>>>> /M
>>>>> Marfa, what would youre top ten books be?
>>>>> Mine are, in no order of preference,
>>>>> Crime and Punishment
>>>>> Charlie and the Chocolate factory
>>>>> 1984
>>>>> The Abolition of Britain
>>>>> To the Lighthouse
>>>>> The Old Devils
>>>>> Notes from Underground
>>>>> Flags of the World
>>>>> Any Sherlock Holmes
>>>>> Grace Abounding to the Chief of Sinners- Masquer le texte des messages
>>>>> précédents -
>>>>> - Afficher le texte des messages précédents -
>>>> If you are allowed Flags of the World, I get to include Snyder's
>>>> Northern Renaissance Art.
>>>> And:
>>>> The Complete Works of Shakespeare
>>>> The Bible
>>>> an anthology of poetry, maybe Norton
>>>> A la recherche du temps perdu
>>>> The Idiot
>>>> Middlemarch
>>>> The Brothers Karamazov
>>>> Les Misérables
>>>> The Wings of the Dove
>>>> Making a list like this is too difficult - every choice means
>>>> something else gets left behind.
>>>> <sob>
>>>> B.
>>> I'm gonna temporize: are we talking about the books we most enjoyed
>>> reading for the first time or the books we would most want for repeated
>>> desert island reading?
>>>
>>> /M- Masquer le texte des messages précédents -
>>>
>>> - Afficher le texte des messages précédents -
>>
>> Books you can't live without. I took it very literally. You could
>> frame it however you want, I guess - books you love but would not
>> necessarily take with you to the island? the 10 books you most want to
>> read but haven't yet? that is risky, you might be stuck with something
>> you hate.
>> B.
>>
>>
>>
>
> OK, for the actual desert island I would take Shakespeare, the Bible and
> Sherlock Holmes of course, all of those for sheer density and
> inventiveness. Also, I think, *Bleak House*, any of LeGuin's major novels,
> *Homage to Catalonia*, *The Lord of the Rings* (if it counts as one
> book -- otherwise *The Hobbit*), *Don Quixote*, *The Hitchhiker's Guide to
> the Galaxy*, and (what the hell) *Moby Dick*.
>
> Hm. I didn't expect so many of those to be sci-fi/fantasy (arguably
> including *Moby Dick*) but it's an honest list so I'll let it stand.
>
> /M

In the radio show desert island discs you get Shakespeare and the Bible as a
'freebie' so you can have two more choices.

ROBBIE
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bridegam

External


Since: Jun 27, 2003
Posts: 628



(Msg. 23) Posted: Sun Mar 11, 2007 2:21 pm
Post subject: Re: Top 10 [Login to view extended thread Info.]
Archived from groups: per prev. post (more info?)

ROBBIE wrote:
> "Martha Bridegam" <bridegam.TakeThisOut@pacbell.net> wrote in message
> news:0z5Gh.868$uo3.465@newssvr14.news.prodigy.net...
>> georgeorwell.TakeThisOut@email.com wrote:
>>> On 2 mar, 18:37, Martha Bridegam <bride....TakeThisOut@pacbell.net> wrote:
>>>> georgeorw....TakeThisOut@email.com wrote:
>>>>> On 1 mar, 15:40, "Adam" <vaneyc....TakeThisOut@hotmail.com> wrote:
>>>>>> Martha Bridegam wrote:
>>>>>>> georgeorw....TakeThisOut@email.com wrote:
>>>>>>>> It's world book day - who knew?
>>>>>>>> http://www.guardian.co.uk/frontpage/story/0,,2023899,00.html
>>>>>>>> People nominated the top ten titles that they could not live
>>>>>>>> without.
>>>>>>>> Some good and some bad and some that I would pick also. I made up
>>>>>>>> my
>>>>>>>> own list and sticking strictly to the criteria 'can't live without',
>>>>>>>> nothing by Orwell is on it - though I would pick the CEJL if it
>>>>>>>> could
>>>>>>>> pass as one book.
>>>>>>>> B.
>>>>>>> Looks to me like *1984* is tied for eighth.
>>>>>>> But do you think these are the books people really love most, or are
>>>>>>> they the ones they think they ought to love most?
>>>>>>> /M
>>>>>> Marfa, what would youre top ten books be?
>>>>>> Mine are, in no order of preference,
>>>>>> Crime and Punishment
>>>>>> Charlie and the Chocolate factory
>>>>>> 1984
>>>>>> The Abolition of Britain
>>>>>> To the Lighthouse
>>>>>> The Old Devils
>>>>>> Notes from Underground
>>>>>> Flags of the World
>>>>>> Any Sherlock Holmes
>>>>>> Grace Abounding to the Chief of Sinners- Masquer le texte des messages
>>>>>> précédents -
>>>>>> - Afficher le texte des messages précédents -
>>>>> If you are allowed Flags of the World, I get to include Snyder's
>>>>> Northern Renaissance Art.
>>>>> And:
>>>>> The Complete Works of Shakespeare
>>>>> The Bible
>>>>> an anthology of poetry, maybe Norton
>>>>> A la recherche du temps perdu
>>>>> The Idiot
>>>>> Middlemarch
>>>>> The Brothers Karamazov
>>>>> Les Misérables
>>>>> The Wings of the Dove
>>>>> Making a list like this is too difficult - every choice means
>>>>> something else gets left behind.
>>>>> <sob>
>>>>> B.
>>>> I'm gonna temporize: are we talking about the books we most enjoyed
>>>> reading for the first time or the books we would most want for repeated
>>>> desert island reading?
>>>>
>>>> /M- Masquer le texte des messages précédents -
>>>>
>>>> - Afficher le texte des messages précédents -
>>> Books you can't live without. I took it very literally. You could
>>> frame it however you want, I guess - books you love but would not
>>> necessarily take with you to the island? the 10 books you most want to
>>> read but haven't yet? that is risky, you might be stuck with something
>>> you hate.
>>> B.
>>>
>>>
>>>
>> OK, for the actual desert island I would take Shakespeare, the Bible and
>> Sherlock Holmes of course, all of those for sheer density and
>> inventiveness. Also, I think, *Bleak House*, any of LeGuin's major novels,
>> *Homage to Catalonia*, *The Lord of the Rings* (if it counts as one
>> book -- otherwise *The Hobbit*), *Don Quixote*, *The Hitchhiker's Guide to
>> the Galaxy*, and (what the hell) *Moby Dick*.
>>
>> Hm. I didn't expect so many of those to be sci-fi/fantasy (arguably
>> including *Moby Dick*) but it's an honest list so I'll let it stand.
>>
>> /M
>
> In the radio show desert island discs you get Shakespeare and the Bible as a
> 'freebie' so you can have two more choices.
>
> ROBBIE
>
>

CEJL Vol. IV and the collected Raymond Chandler then.

/M
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Nigee

External


Since: Jan 08, 2007
Posts: 8



(Msg. 24) Posted: Sun Mar 11, 2007 3:22 pm
Post subject: Re: Top 10 (Anthony Powell sub-thread) [Login to view extended thread Info.]
Archived from groups: per prev. post (more info?)

On 11 Mar, 20:56, Martha Bridegam <bride....DeleteThis@pacbell.net> wrote:
> ROBBIE wrote:
> >>...Or sometimes the story stays
> >> at the same level of fantasy all the way through, e.g. in Gulliver's
> >> Travels or for that matter your Mr. Firbank.
>
> > Bogart accent: 'He's not particularly *my* Mr Firbank.
>
> Right on cue.
>
> ...
>
>
>
>
>
>
>
> >> So, I mean, there are intentional jolts to the reader that have an
> >> artistic purpose. But then there are just plain old gratuitous jolts like
> >> stretches of bad pavement on the highway. Of course deciding which is
> >> which is a matter of taste, but it's something to think about seriously,
> >> no?
>
> > Well I already have and continue to do so. Nigel, who very kindly read and
> > commented on the MS, marked 'too implausible' underneath the petrol bomb
> > passage but I thought: is Otto Silenus's destruction of the stately home and
> > the 11-year-old Peter Beste-Chetwynde mixing himself brandy and sodas in
> > Decline and Fall 'too implausible'? Granted, Decline and Fall sets out its
> > shop from the first page - what Malcolm Bradbury called 'a universe of
> > vigorous and bleak chaos'. Given that my novel begins with the line '"Jeremy
> > thinks he's a unicorn"' I think mine sets out its shop early too. I think
> > the novel form still has room for extravaganzas and farragos - not saying
> > mine is, it isn't (well, compared to Nick Hornby and similar it is an
> > extravaganza).
>
> > ROBBIE
>
> Yes. "Setting out its shop" is the necessary part. If not internal
> consistency, then at least a consistent level of inconsistency. I even
> bet Nigel would agree.
>
> /M- Hide quoted text -
>
> - Show quoted text -

I very much enjoyed reading the ms that ROBBIE sent me. It is written
with a slashing verve. It drills its targets through the bullseye. I
laughed out loud a lot. I can't ask for too much better than that.

The only problem I had with the two pieces quoted was that they pushed
beyond the envelope of my suspended disbelief. Nasty phrasing, I
know, but you get what I mean, I hope. (I picked up a brochure the
other day. Someone had left it lying on the table in a meeting room.
It provided an overview of a HR Consultancy frim that specialised in
'Outplacing'. 'Outplacing', I was tickled to discover, is the new
cuddly term for making staff cuts.)

Needless to say, I was perfectly happy to believe that Jeremy thought
he was a Unicorn.

N
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ROBBIE

External


Since: Aug 11, 2006
Posts: 104



(Msg. 25) Posted: Mon Mar 12, 2007 7:35 am
Post subject: Re: Top 10 (Anthony Powell sub-thread) [Login to view extended thread Info.]
Archived from groups: per prev. post (more info?)

"Nigee" <aspidistra101.DeleteThis@yahoo.co.uk> wrote in message
news:1173651760.863922.142210@s48g2000cws.googlegroups.com...
> On 11 Mar, 20:56, Martha Bridegam <bride....DeleteThis@pacbell.net> wrote:
>> ROBBIE wrote:
>> >>...Or sometimes the story stays
>> >> at the same level of fantasy all the way through, e.g. in Gulliver's
>> >> Travels or for that matter your Mr. Firbank.
>>
>> > Bogart accent: 'He's not particularly *my* Mr Firbank.
>>
>> Right on cue.
>>
>> ...
>>
>>
>>
>>
>>
>>
>>
>> >> So, I mean, there are intentional jolts to the reader that have an
>> >> artistic purpose. But then there are just plain old gratuitous jolts
>> >> like
>> >> stretches of bad pavement on the highway. Of course deciding which is
>> >> which is a matter of taste, but it's something to think about
>> >> seriously,
>> >> no?
>>
>> > Well I already have and continue to do so. Nigel, who very kindly read
>> > and
>> > commented on the MS, marked 'too implausible' underneath the petrol
>> > bomb
>> > passage but I thought: is Otto Silenus's destruction of the stately
>> > home and
>> > the 11-year-old Peter Beste-Chetwynde mixing himself brandy and sodas
>> > in
>> > Decline and Fall 'too implausible'? Granted, Decline and Fall sets out
>> > its
>> > shop from the first page - what Malcolm Bradbury called 'a universe of
>> > vigorous and bleak chaos'. Given that my novel begins with the line
>> > '"Jeremy
>> > thinks he's a unicorn"' I think mine sets out its shop early too. I
>> > think
>> > the novel form still has room for extravaganzas and farragos - not
>> > saying
>> > mine is, it isn't (well, compared to Nick Hornby and similar it is an
>> > extravaganza).
>>
>> > ROBBIE
>>
>> Yes. "Setting out its shop" is the necessary part. If not internal
>> consistency, then at least a consistent level of inconsistency. I even
>> bet Nigel would agree.
>>
>> /M- Hide quoted text -
>>
>> - Show quoted text -
>
> I very much enjoyed reading the ms that ROBBIE sent me. It is written
> with a slashing verve. It drills its targets through the bullseye. I
> laughed out loud a lot. I can't ask for too much better than that.
>
> The only problem I had with the two pieces quoted was that they pushed
> beyond the envelope of my suspended disbelief. Nasty phrasing, I
> know, but you get what I mean, I hope. (I picked up a brochure the
> other day. Someone had left it lying on the table in a meeting room.
> It provided an overview of a HR Consultancy frim that specialised in
> 'Outplacing'. 'Outplacing', I was tickled to discover, is the new
> cuddly term for making staff cuts.)
>
> Needless to say, I was perfectly happy to believe that Jeremy thought
> he was a Unicorn.
>
> N
>
>

Cheers! I just used your two objections as part of my Forsterian
disquisition onn the nov in gen. I have no petulance regarding your
excellent criticism. Martha is welcome to read it it if she wants: I love an
audience, as you know.

ROBBIE
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