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The Irresponsible Self: On Laughter and the Novel
 
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The Irresponsible Self: On Laughter and the Novel (Hardcover)

by James Wood (Author)
4.0 out of 5 stars See all reviews (1 customer review)

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Paperback (New edition) £12.99 £9.09 17 used & new from £3.79

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Product details

  • Hardcover: 312 pages
  • Publisher: Jonathan Cape Ltd; First Edition edition (13 May 2004)
  • Language English
  • ISBN-10: 0224064509
  • ISBN-13: 978-0224064507
  • Product Dimensions: 21.8 x 14 x 3.2 cm
  • Average Customer Review: 4.0 out of 5 stars See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 420,241 in Books (See Bestsellers in Books)

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Product Description

Philip Horne, Guardian
'the most urgent and morally demanding critic around is the brilliant James Wood...a powerful collection'

Sam Leith, Daily Telegraph
'breathtakingly good...delightful and insightful'

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The Irresponsible Self: On Laughter and the Novel
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The Irresponsible Self: On Laughter and the Novel 4.0 out of 5 stars (1)
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4.0 out of 5 stars The Highways and Byways of the Novel, 6 Mar 2009
By Mr. D. James "nonsuch" (london, uk) - See all my reviews
(REAL NAME)   
This review is from: The Irresponsible Self: On Laughter and the Novel (Paperback)
James Wood's analyses of Tolstoy and Dostoyevsky are pungent and illuminating in this collection of essays, but even more interesting to me is his introduction of lesser-known novelists, such as Hrabel, JF Powers and Verga. THe IRRESPONSIBLE SELF also deals(at times with lofty disdain)with Tom Wolfe and Salmon Rushdie, and, more sympathetically, with Knut Hamsun, VS Pritchett, Saul Bellow, Monica Ali and Henry Green. And every one of the 20-odd essays has something illuminating to say about novels past and contemporary, the novel as a genre,and fictional links between the old and the new, the European and the American.

Here is a sample of Wood's slant on Saul Bellow: 'Bellow's bodies are funny; he is a great portraitist of the human form, Dickens's equal in the swift creation of instant gargoyles. There is not only Valentine Gersbach in HERZOG, but Victor Wulpy, the great art critic and theorist in 'What Kind of Day Did You Have?', who is dishevelled and 'wore his pants negligently', and Cousin Riva in 'Cousins': 'I remembered Riva as a full-figured, dark-haired, plump, straight-legged woman. Now all the geometry of her figure had changed. She had come down in the knees like the jack of a car, to a diamond posture.'

Such morsels wet the appetite for fictional delicacies as yet unsampled, or if already tasted those to be relished at a second sitting.
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