By J. Peder Zane
Italo Calvino defined it is as a work that “has never finished saying what it has to say.” Ezra Pound said it possesses “a certain eternal and irrepressible freshness." And the 19th century French literary critic Charles Augustin Sainte-Beuve declared that “[it] has discovered some moral and not equivocal truth, or revealed some eternal passion in that heart where all seemed known and discovered.”
At first glance, these definitions of classic/great books seem on the mark. Under their umbrella of excellence we can fit undisputed works of genius from “The Iliad” and “The Divine Comedy” to “Pride & Prejudice,” “Anna Karenina” and “Invisible Man.”
Unfortunately, they rest on a fallacy – that any and every book that exhibits these qualities will be considered a classic. Read more ...
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Rick Moody is earning reviews so warm they’re glowing for his sixth novel, Hotels of North America - a darkly comic portrait of a man whose life - including his motivational speaking career, the dissolution of his marriage, the separation from his beloved daughter, and his devotion to an amour known only as "K." – is revealed through his online reviews.
Here are three:
Fairy tale writers are the worst closers in the biz. Oh sure, they can spin a good yarn, full of magic, romance and now I can’t sleep at night terror. But when the time comes to wrap it all up, the best most can come up with is “and they lived happily ever after.”
They have been clever enough to sell this weakness as a virtue, calling it tradition and pretending they have no choice. But believe me, they catch it hard at literary festivals.
“I don’t want to write about human behavior,” John Banville told The Paris Review. “If I can catch the play of light on a wall, and catch it just so, that is enough for me.”
For Banville sentences, images and words have become the alpha and the omega. “Linguistic beauty,” he continued, can be pursued “as an end in itself.”
At a time when the phrase “literary event” is a quaint anachronism (see Vargas Llosa’s Notes on the Death of Culture), a new novel from Jonathan Franzen may be as close as book lovers can come these days to tweezing a piece of the nation’s attention.