Beowulf on the Beach: What to Love and What to Skip in by Jack Murnighan

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By Jack Murnighan

Consider undesirable approximately no longer studying or now not having fun with the so-called nice books? Don’t sweat it, it’s no longer your fault. Did a person inform you that Anna Karenina is a seashore learn, that Dickens is hilarious, that the Iliad’s conflict scenes rival Hollywood’s for gore, or that Joyce is at his top while he’s speaking approximately booze, intercourse, or organ meats?

Writer and professor Jack Murnighan says it’s time to provide literature one other glance, yet this time you’ll take pleasure in your self. With a bit aid, you’ll see simply how nice the good books are: how they could make you chuckle, moisten your eyes, flip you on, and go away you awestruck and deeply moved. Beowulf at the Beach is your box guide–erudite, witty, and fun-loving–for aiding you learn and savour fifty of the largest (and such a lot skipped) classics of all time. for every publication, Murnighan finds tips to get the main from your examining and offers a crib sheet that comes with the excitement, the simplest Line, What’s horny, and What to pass.

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Extra resources for Beowulf on the Beach: What to Love and What to Skip in Literature's 50 Greatest Hits

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And things, unused in winter, like flowerpots, accumulated on jamclosets. They were in dark unvisited parts of basements, well away from the furnace. So any mention of the clutter atop a jamcloset might easily tip into nostalgia, and it is interesting that in “Poem” this does not happen. In that machine made out of words “jamcloset” is a term, not a focus for sentiment; simply a word, the exact and plausible word, not inviting the imagination to linger: an element in the economy of a sentence. —similarly used language with such care.

Jurij Tynjanov, “On Literary Evolution” (1929), in Readings in Russian Poetics: Formalist and Structuralist Views, ed. Ladislav Matejka and Krystyna Pomorska (1971; Chicago: Dalkey Archive Press, 2002), 66-78. Roman Jakobson, “On a Generation that Squandered Its Poets” (1931), in Language and Literature, ed. Krystyna Pomorska and Stephen Rudy (Cambridge: Harvard University Press, 1987), 273-300. Charles Bernstein, “What’s Art Got to Do with It? The Status of the Subject of the Humanities in an Age of Cultural Studies,” My Way: Speeches and Poems (Chicago: University of Chicago Press, 1999), 3651.

The New Critics (John Crowe Ransom, Cleanth Brooks, Allen Tate) were largely Christian Americans; later critics primarily came from elsewhere—Hugh Kenner, for instance, from Canada—or were, like Harold Bloom, Bronx Jews. In his academic memoir, the scholar Alvin Kernan, a rather traditional Yale and then Princeton professor, describes the postWorld War II moment in the Yale English department when the Jews first appeared on the scene: Bloom, E. D. Hirsch, Geoffrey Hartman (an exile). They challenged many of the traditional 34 Poetics in a New Key values of the academy.

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