The Aesthetics of Anthony Burgess

Fire of Words

Fiction & Literature, Literary Theory & Criticism
Cover of the book The Aesthetics of Anthony Burgess by Jim Clarke, Springer International Publishing
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Author: Jim Clarke ISBN: 9783319664118
Publisher: Springer International Publishing Publication: October 26, 2017
Imprint: Palgrave Macmillan Language: English
Author: Jim Clarke
ISBN: 9783319664118
Publisher: Springer International Publishing
Publication: October 26, 2017
Imprint: Palgrave Macmillan
Language: English

The book is the first full-length text on Anthony Burgess's fiction in a generation, and offers a radical and innovative way of understanding the extensive literary achievements of one of the twentieth century's most innovative authors. This book explores Burgess's dazzlingly diverse range of novels through the one key theme which links them all – the artistic process itself.

Borrowing from Nietzsche's aesthetic dichotomy of Apollo and Dionysus, the book uncovers the protracted evolution of Burgess's fiction and offers a unifying theory which links his early postcolonial fiction chronologically, via his modernist experiments like A Clockwork Orange and Nothing Like The Sun, to his late classics Mozart and the Wolfgang and A Dead Man in Deptford.

This volume clarifies Burgess's seminal role as both late modernist and early postmodernist, and lucidly unveils the legacy of England's most mercurial novelist.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

The book is the first full-length text on Anthony Burgess's fiction in a generation, and offers a radical and innovative way of understanding the extensive literary achievements of one of the twentieth century's most innovative authors. This book explores Burgess's dazzlingly diverse range of novels through the one key theme which links them all – the artistic process itself.

Borrowing from Nietzsche's aesthetic dichotomy of Apollo and Dionysus, the book uncovers the protracted evolution of Burgess's fiction and offers a unifying theory which links his early postcolonial fiction chronologically, via his modernist experiments like A Clockwork Orange and Nothing Like The Sun, to his late classics Mozart and the Wolfgang and A Dead Man in Deptford.

This volume clarifies Burgess's seminal role as both late modernist and early postmodernist, and lucidly unveils the legacy of England's most mercurial novelist.

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