Jacob's Room, Virginia Woolf's third novel, is short compared with its predecessor Night and Day. She said herself that she learnt what to leave out by putting it all in. Jacob's Room may be read as the simple story of a young man's life from childhood until his death in the First World War, but it is much more than that: it subtly indicts a society that instils obedience and celebrates militarism. Consequently, Jacob's death seems random yet inevitable. Extensive explanatory notes clarify the myriad passing allusions, which should lead to a reassessment of Jacob's Room as one of the great modernist masterpieces, taking its place with Ulysses and The Waste Land in the iconic year of 1922. The substantial introduction includes a detailed account of the novel's composition, publication, and early critical reception, together with chronologies of composition and of Woolf's life.
Format: CONTRIBUTORS: Virginia Woolf, Stuart N. Clarke, David BradshawEAN: 9780521846745COUNTRY: United KingdomPAGES: WEIGHT: 1340 gHEIGHT: 223 cm
PUBLISHED BY: Cambridge University PressDATE PUBLISHED: 2020-10-08CITY: GENRE: LITERARY CRITICISM / European / English, Irish, Scottish, WelshWIDTH: 145 cmSPINE:
Book Themes:
English, Literary studies: c 1900 to c 2000, Literary studies: fiction, novelists and prose writers, Literary reference works
"I wanted them all, even those I'd already read."--Ron Rosenbaum, "The New York Observer" "Small wonders."--"Time Out London" """[F]irst-rate...astutely selected and attractively packaged...indisputably great works."--Adam Begley, "The New York Observer" "I've always been haunted by Bartleby, the proto-slacker. But it's the handsomely minimalist cover of the Melville House edition that gets me here, one of many in the small publisher's fine 'Art of the Novella' series."--"The New Yorker" "The Art of the Novella series is sort of an anti-Kindle. What these singular, distinctive titles celebrate is book-ness. They're slim enough to be portable but showy enough to be conspicuously consumed--tiny little objects that demand to be loved for the commodities they are."--KQED (NPR San Francisco) "Some like it short, and if you're one of them, Melville House, an independent publisher based in Brooklyn, has a line of books for you... eleg
Stuart N. Clarke has transcribed and edited Virginia Woolf's Orlando: The Original Holograph Draft (1993), was co-compiler with B. J. Kirkpatrick of the 4th edition of A Bibliography of Virginia Woolf (1997), and edited Translations from the Russian (2006), by Virginia Woolf and S. S. Koteliansky, and Volumes 5 and 6 of the complete Essays of Virginia Woolf (2009 and 2011). With David Bradshaw, he edited A Room of One's Own (Wiley Blackwell, 2015). He is a founding member of the Virginia Woolf Society of Great Britain and has edited its journal, the Virginia Woolf Bulletin, since its inception in 1999. David Bradshaw (1955-2016) was Professor of English Literature at Oxford University and a Fellow of Worcester College. He was editor of Virginia Woolf's Mrs Dalloway, To the Lighthouse, Selected Essays and The Waves for the Oxford World's Classics Series, and of The Years (with Ian Blyth) and A Room of One's Own (with Stuart N. Clarke) for the Shakespeare Head Press. David also edited and contributed to The Cambridge Companion to E.M. Forster, A Companion to Modernist Literature and Culture, and Prudes on the Prowl: Fiction and Obscenity in England, 1850 to the Present Day. He edited Aldous Huxley's Brave New World for Vintage Classics and was a founder of the Evelyn Waugh project to publish the first Complete Works of Waugh's writing.
Jacob's Room, Virginia Woolf's third novel, is short compared with its predecessor Night and Day. She said herself that she learnt what to leave out by putting it all in. Jacob's Room may be read as the simple story of a young man's life from childhood until his death in the First World War, but it is much more than that: it subtly indicts a society that instils obedience and celebrates militarism. Consequently, Jacob's death seems random yet inevitable. Extensive explanatory notes clarify the myriad passing allusions, which should lead to a reassessment of Jacob's Room as one of the great modernist masterpieces, taking its place with Ulysses and The Waste Land in the iconic year of 1922. The substantial introduction includes a detailed account of the novel's composition, publication, and early critical reception, together with chronologies of composition and of Woolf's life.
Format: CONTRIBUTORS: Virginia Woolf, Stuart N. Clarke, David BradshawEAN: 9780521846745COUNTRY: United KingdomPAGES: WEIGHT: 1340 gHEIGHT: 223 cm
PUBLISHED BY: Cambridge University PressDATE PUBLISHED: 2020-10-08CITY: GENRE: LITERARY CRITICISM / European / English, Irish, Scottish, WelshWIDTH: 145 cmSPINE:
Book Themes:
English, Literary studies: c 1900 to c 2000, Literary studies: fiction, novelists and prose writers, Literary reference works
Stuart N. Clarke has transcribed and edited Virginia Woolf's Orlando: The Original Holograph Draft (1993), was co-compiler with B. J. Kirkpatrick of the 4th edition of A Bibliography of Virginia Woolf (1997), and edited Translations from the Russian (2006), by Virginia Woolf and S. S. Koteliansky, and Volumes 5 and 6 of the complete Essays of Virginia Woolf (2009 and 2011). With David Bradshaw, he edited A Room of One's Own (Wiley Blackwell, 2015). He is a founding member of the Virginia Woolf Society of Great Britain and has edited its journal, the Virginia Woolf Bulletin, since its inception in 1999. David Bradshaw (1955-2016) was Professor of English Literature at Oxford University and a Fellow of Worcester College. He was editor of Virginia Woolf's Mrs Dalloway, To the Lighthouse, Selected Essays and The Waves for the Oxford World's Classics Series, and of The Years (with Ian Blyth) and A Room of One's Own (with Stuart N. Clarke) for the Shakespeare Head Press. David also edited and contributed to The Cambridge Companion to E.M. Forster, A Companion to Modernist Literature and Culture, and Prudes on the Prowl: Fiction and Obscenity in England, 1850 to the Present Day. He edited Aldous Huxley's Brave New World for Vintage Classics and was a founder of the Evelyn Waugh project to publish the first Complete Works of Waugh's writing.
Die verhaal van die kasarm en die Calitze kom tot 'n mooi einde
Ek kan nie ’n boek summier toemaak nadat die slotsin geskryf is nie. Ek lees álles, tot by die outeursnotas en die bronnelys (gewoonlik gooi ek darem net vlugtig ’n oog oor die bonne!). Chanette Paul maak in die nota oor Maanschijnbaai 2, die verdere verhaal van Nan en Jeannie, die stelling: “Lesers moet my asseblief vergewe dat my verbeelding altyd die oorhand oor die werklikheid kry en verdigsel voorkeur bo feite.” (p.635) Ek wil daarby aanhaak en bieg dat ’n uitstekende verhoudingsroman soos hierdie tydelik die oorhand gekry het oor my traagheid om te lees oor reïnkarnasie en die esoteriese. Die klomp Calitzse het my tyd en aandag totaal gekaap.
Die skrywer wy die laaste bladsye aan ’n verduideliking oor hoe die Maanschijnbaai-tweeluik ontstaan het. Sy beweer dat die Calitze haar “onkant” betrap het. Sy wou ’n romanse skryf maar uiteindelik was die karakters so kompleks dat dit op twee dik boeke en ’n intense familiedrama uitgeloop het.
Van die onderskeie karakters raak diep waarhede kwyt wat die moeite werd is om te onderstreep en te onthou, soos Zach wat dit gehad het oor die risiko om iemand op ’n pedestal te plaas omdat jy daardeur die persoon ’n onreg aandoen. (p.539) En Nan, wat die hele klomp Calitze moes grootkry, se wyse raad: “Met eerlikheid, Jeannie, kom ’n mens baie verder as met opoffering. Met eerlikheid gee jy almal ’n regverdige kans. Opoffering beteken bloot jy doen iets teen jou sin omdat jy glo dit sal ander baat.” (p.613)
Maak seker dat jy genoeg tyd op hande het, dan lees jy hierdie tweeluik in volgorde, Jo & Sue, gevolg deur Nan & Jeannie. Dit is hersien en met splinternuwe, pragtige baadjies uitgegee deur Lapa Uitgewers.
A very practical approach and the tools to go along with it
Very useful. The book provides a structure and an approach that I would have been useful earlier in my investing. I like the five gates and in particular the attention to quality and management's capital allocation decisions. I will also apply the idea of the stewardship log to get more explicit on my investment theses. This is kind of the practical aspect of what I learned from the Psychology of Money.
the title ties in really nicley the more towards the end but the title for the book suits it real...
the book is very slow burn and takes a while for like captivating parts of the book .but the middle to the end the pace of the book is really nice the beginning is just repetitive and and trust the processes
Skuld en vergifnis word nie versuiker in hierdie jeugverhaal nie
Twee halwes maak ’n hele is die wenner van ’n jeugboekprys. Ek moes myself gedurig herinner wat die teikenmark nou eintlik is, want die sake wat aangeraak word, is geensins beperk tot jeugdige lesers nie. Die sterk newe-karakters dra daartoe by die selfs baie ouer lesers goed aanklank kan vind by die storielyn wat ontvou.
“Hulle sê as jy iemand vergewe, lig jy ’n vrag van daardie persoon se skouers af. Maar miskien is sommige dinge net te swaar om van iemand anders se skouers te lig?” (p.178) Baie aandag word gegee aan skuld en vergifnis, maar geen suikeromhulde kitsoplossings word aangebied nie. Dit sou die storie beslis vervlak het.
Na die aardskuddende ontdekking wat Lira gemaak het, gaan sy vir drie maande na ’n Griekse eiland en maak sy kennis met haar ander helfte, ’n halfsuster wat presies die teenoorgestelde is van haar eie ingetoë, overthinking self. Ek het daarvan gehou dat hulle, die verskille ten spyt, nie in heftige konflik was nie. Eerder besig om algaande te ontdek dat hulle by mekaar kan aanpas en albei sterker daardeur kan kom.
Marita van der Vyver is ’n waardige wenner van die Tafelberg Jeugboekprys en hierdie boek hoort beslis in van der Vyver versamelings. Dit is uitgegee deur Tafelberg, ’n druknaam van Jonathan Ball Uitgewers.
