book for the non-expert. An unusual interpretation which should spur discussions. An extremely well written book by a man who knows
his subject
On the back cover of this book there is a descriptive publisher's blurb:
Wayne Burns' critical approach to Hardy's fiction has enabled him to present significantly new interpretations and evaluations of Hardy's novels. While some Hardy lovers may find Burns' criticism irreverent, or even outrageous, it is solidly grounded in the texts of the novels themselves, and will bear the closest critical scrutiny. Yet the book is so clearly written that it can be read and understood by anyone interested in Hardy's novels.
While these may seem like extravagant claims, they really are not. The book more than lives up to them. The one point that the publisher has not stressed is the radical nature of Burns' critical approach, which he identifies as Panzaic Contextualist. Although not a weakness, but a strength, ths approach may prove difficult for many readers to accept. Even after Burns' eleven-page Foreword and four-page Introduction, some readers may find Panzaic Contextualism unacceptable: it may seem too Lawrentian, or too Freudian, or too stark, or too much of a departure from accepted critical norms and practices.
But if these readers can put aside their theoretical objections they will discover (in Burns' first introductory chapter, entitled "Dulcinea as the Immaculate Sister) that he is presenting a verifiable scholarly interpretation of the ways in which the Victorians went about living and loving. As Burns explains:
For the Victorians, or at least for nearly all middle- and upper-class Victorians, the war between the flesh and the spirit was by way of being a holy war that had as its ultimate aim the elimination of the flesh from man-woman love relationships [...]. The conflict between the higher and lower forms of man-woman love is everywhere present in the writings of the Victorians. Indeed for many of them the higher form was not merely a moral or literary ideal: it was the love that, in their own lives, they often chose to place above, or apart from, the lower forms of love that they felt for their husbands or wives.
This general statement Burns develops in an extended analysis of the immaculate loves of Dickens and Mary Hogarth, Thackeray and Mrs. Brookfield, Mill and Harriet Taylor, along with, in fiction, the immaculate loves of the hero and heroine of Charles Reade's The Cloister and the Hearth, finally to conclude:
Hardy [...] believed in the higher and lower forms of love. But not in the way his fellow Victorians believed in them-in part because of his growing up the son of a Bockhampton stone mason, in part because of his being as sensitive, and tormented, and courageous as Michael Millgate and his other biographers have shown him to be. As a beginning novelist, however, Hardy's greatest virtue may have been his ability to recognize the realities of his situation. He knew that, whatever he himself felt or believed, he had to comply with the demands of publishers and editors and readers-if he were to become "a good hand at a serial" and make a living by writing novels. And he did comply, though not without difficulties, as the following discussions of his individual novels will reveal. He presented the war between the flesh and the spirit on the farms and on the heath and in the woods of his mythical Wessex, always keeping within the prescribed moral boundaries, until, in writing Tess of the d'Urbervilles and Jude the Obscure, he threw caution to the wind-to write two of the greatest novels of the nineteenth century.
Here, in outline, is the critical argument that Burns carries through to Jude the Obscure. The early novels, including even those which have come to be considered classics (Far From the Madding Crowd and The Return of the Native) Burns treats rather severely, primarily because they do not measure up to his Panzaic Contextualist standards. He recognizes the Hardyean virtues in these early novels-the interesting and charming heroines, the beautiful and sometimes powerful settings, the wonderful rustics. But he finds these aspects and qualities insufficient to overcome Hardy's melodramatic moralizing.
Burns is equally severe in his treatment of The Woodlanders. It is not until Tess, Burns demonstrates, that Hardy escapes from his moral chains-"choosing a forbidden subject, and treating it Panzaically. The differences between the ending of The Return of the Native, in which Clym is lecturing only on 'unimpeachable subjects,' and the beginning of Tess are so great as to seem inexplicable. It is as if Hardy has become a different novelist. As indeed he has." But it is not until Jude the Obscure, Burns maintains, that Hardy manages to give full artistic expression to his chosen subject-the never-ending war between the flesh and the spirit.
In Jude Hardy finally solved his immortal puzzle ["Given the man and the woman, how to find a basis for their sexual relation"] and in doing so created a great novel-only to discover that it was opening him up to criticism and abuse even more virulent than he had experienced following the publication of Tess. For Jude was attacked not only for its sexuality but for the views it expressed on women and marriage and society and the church. In the words of Patricia Ingham, "Contemporary society recognized a revolutionary when it saw one."But that was not what Hardy wanted to be. After The Well-Beloved he wrote no more novels and devoted himself to his poetry.
It is one of the finest critical studies of Hardy's novels that I have read; indeed Burns' chapter on Jude the Obscure may well be the first critical study to do full justice to that novel.
__Barry Tharaud, Editor, NINETEENTH-CENTURY PROSE
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Pro's and con's are examined about Court Ordered Name Changes and Common Usage methodologies. Well thought out and written in a very readable and comprehensive style...this book answers almost any question you may have regarding the implications of changing you name.
Highly recommended....by far, the best book I have seen on the market around this issue.
It was complete, concise, and easy to follow.
I definately could not of made the change without the help of this book.
I do not recommend trying to change your name without this - it walks you through from A to Z, not missing a beat.
Excellent book.
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The book is very fun to read and altough it's fiction, it's classic fiction (dragons,wizards,magic). Until the end it keeps you wondering what is the force who bothers Greyhawk. The book is written in a rich language and gives you the feeling you're actually in that era. The only thing that made me give this book 4 stars is that i expected a more sophisticated or rather longer ending. GREAT BOOK - READ IT !!!
Night Watch, written by Robin Wayne Bailey (Thieves World), was published in 1990, just as TSR was experiencing a lot of difficulties (which they oft do but that's another topic). Gary Gygax, founder and anchor writer for the Greyhawk series, had left and the company turned to other writers to carry on the Greyhawk series, the results which was so bad that it cancelled the series before Night Watch was printed. As a result, Night Watch was published without the customary Greyhawk logo.
Despite not being a role-playing gamer, the author took painstaking efforts to study the Greyhawk setting for his first and only (to date) Greyhawk novel. The results produced should put to shame the works of many other TSR authors who began with greater familiarity, both past and present.
Instead of trying to ride on the formula of previous Greyhawk writers, Bailey created his own - a detective thriller in a fantasy setting. The novel was placed in an undefined time in Greyhawk, and without contradicting any canon, could be fitted almost anywhere in the Greyhawk timeline except the major wars.
Rather than revisiting the same scenes mentioned in the earlier Greyhawk book (Saga of the Old City), Bailey made his main character, Garett Starlen, captain of Greyhawk's Night Watch. He gave a brief glimpse to Garett's past, just enough to present him as an honest man, educated and competent in his duties without unjustified idealism, and was good enough to inspire loyalty from other competent subordinates - Blossom, a seven footer amazonian, Burge, a half-elf who hated his faerie ancestry, and Rudi, a short fighter sensitive to his height (or lack of).
Greyhawk, in an ordinary day, was bad enough. The poor had a hard life, regardless whether they had an honest job. The rich, protected by the privilige of wealth, spent their hours protecting their wealth. The district for temples were lined with religious institutions of varying, even opposing, dispositions. The city was governed by the Directorate, composed of various factions of power, including leaders of the Thieves Guild and Assassins Guild. All were aware that orderliness, with a smattering of chaos, was in their best interests and hence the Watch was not merely an instrument of the elite.
Magic was very much part of life in Greyhawk, and the story opened with the successive murders of the city's fabled seers by their own instruments, all within one night despite being quartered in different parts of the cities. It fell to the captain of the Night Watch, Garett, to investigate those murders, which were certainly caused by magic. While the Watch could normally seek help from the Wizards' Guild, there was no response at the Wizards's Tower, and no sane person would intrude a wizard's lair, much less the Tower of the Wizards's Guild.
Further disturbances in the form of unusual flocking of black birds, inexplicable departure of the city by elves, warned Garett that an approaching danger, which was why the seers had been killed. Garett could get no help from the Directorate, whose members were more keen in protecting or promoting their own interests than the city's. It would take an intercession from one of Oerth's legendary Circle of Eight to provide Garett with the clue to the threat and the instrument to overcome it.
Readers familiar with Dungeons and Dragons or Greyhawk settings might be put off by the portrayal of magic in this book. Instead of the usual spells like wands of fireball, the investigating characters were virtually bereft of magic. Instead of an adventuring group mixture of paladins, clerics and magic users, they were all fighters belonging to the Night Watch. And when contact with the Wizards' Guild was lost, there was no other magic-user in the city of Greyhawk they could turn to, a phenomena any Greyhawk fan would vow as impossible.
But as someone who appreciates the essence of fantasy more than game-mechanics or statistics from RPG supplements, I really like what the author had done.
The clues were well laid, but it took the main character to act upon his gut instinct and against incompetent superiors to get anywhere. Critics who say this is another Thieves' World novel in Greyhawk guise are probably right, but it should not mar the enjoyment of the novel. I need only to point to the Knights of Crown series by Roland Green, set in Dragonlance setting, as another example of enjoyable fantasy novels borrowing an established setting but lacked the distinctive "essence" of the setting. Even the recently published novel Keep on the Borderlands which was based on a well-known Greyhawk classic had hardly any Greyhawk-ness in it.
Having said that though, while I regret there is no sequel to Night Watch or Garett Starlen, to date, any further work should include more of Greyhawk-ness.
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