By Bernard Bergonzi
Bernard Bergonzi has been analyzing Graham Greene for a few years; he nonetheless possesses the unique version of The finish of the Affair that he received whilst it was once released in 1951. After a lot fresh realization to Greene's existence he believes it's time to go back to his writings; during this serious learn Bergonzi makes an in depth exam of the language and constitution of Greene's novels, and lines the obsessive motifs that recur all through his lengthy occupation. so much previous feedback was once written whereas Greene used to be nonetheless alive and dealing, and used to be to a point provisional, because the ultimate form of his paintings used to be no longer but obvious. during this ebook Bergonzi is ready to take a view of Greene's entire profession as a novelist, which prolonged from 1929 to 1988. He believes that Greene's prior paintings was once his top, combining melodrama, realism, and poetry, with Brighton Rock, released in 1938, an ethical myth that attracts on crime fiction and Jacobean tragedy, because the masterpiece. The novels that Greene released after the Nineteen Fifties have been very expert examples of skilful story-telling yet represented a decline from this excessive point of feat. Bergonzi demanding situations assumptions concerning the nature of Greene's debt to cinema, and makes an attempt to elucidate the complexities and contradictions of his non secular rules. even if this e-book engages with questions that come up in educational discussions of Greene, it's written with common readers in mind.
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Additional info for A Study in Greene: Graham Greene and the Art of the Novel
In It’s a Battleﬁeld Kay and Jules have ended their rural idyll with an unsatisfactory sexual encounter and the mutual realization that they are not right for each other. But they are young and can still hope. Whatever Greene’s own political views when he was writing it, It’s a Battleﬁeld is a pessimistic novel, which one can see as the work of the Augustinian Christian that Evelyn Waugh a few years later proclaimed Greene to be. It is in evident ways immature and overambitious, and too much in Conrad’s debt.
Jokes and private references provide a strand of unity in his large ﬁctional oeuvre, signalling the presence of the hidden author. Greene’s critics have been very ready to ﬁnd a deeper unity in the persistence of the themes of betrayal and lost innocence, notwithstanding the wide range of social and geographical settings. Roger Sharrock has referred to a ‘fresh disguise for the single novel he is writing all the time’, and remarks, ‘Greene’s obsessional, almost neurotic drive constantly reasserts itself so that it is nearer to the truth to express change as a reshufﬂing of the cards, not the introduction of a new pack’5.
Eliot, who had recently published The Waste Land, is discussing Ulysses. Both works inﬂuenced Greene. The shifting townscapes in It’s a Battleﬁeld are indebted to Joyce’s novel, while the restless succession of sharp images in which Greene evokes contemporary London recalls The Waste Land. It was a poem he had long admired and regarded as an example of cinematic collage (the title of his third novel, Rumour at Nightfall, alludes to Eliot’s poem). It’s a Battleﬁeld is too much of a melodrama to rise to the heights of tragedy, but it mimes the achievements of Renaissance drama and ends like one.
A Study in Greene: Graham Greene and the Art of the Novel by Bernard Bergonzi