A Little History of Literature by John Sutherland PDF

By John Sutherland

This "little history” takes on a truly immense topic: the fantastic span of literature from Greek delusion to image novels, from The Epic of Gilgamesh to Harry Potter. John Sutherland is ideally fitted to the duty. He has researched, taught, and written on almost each sector of literature, and his infectious ardour for books and analyzing has outlined his personal existence. Now he courses younger readers and the grown-ups of their lives on an exciting trip "through the wardrobe” to a better understanding of the way literature from the world over can delivery us and support us to make experience of what it ability to be human.

Sutherland introduces nice classics in his personal impossible to resist means, enlivening his choices with humor in addition to studying: Beowulf, Shakespeare, Don Quixote, the Romantics, Dickens, Moby Dick, The Waste Land, Woolf, 1984, and dozens of others. He provides to those a less-expected, own number of authors and works, together with literature often thought of good lower than "serious attention"—from the impolite jests of Anglo-Saxon runes to The Da Vinci Code. With masterful digressions into numerous themes—censorship, narrative methods, self-publishing, style, creativity, and madness—Sutherland demonstrates the entire intensity and intrigue of examining. For more youthful readers, he bargains a formal creation to literature, promising to curiosity up to tutor. For more matured readers, he grants simply an identical.

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Extra resources for A Little History of Literature

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I am going to work on water—and we know who knows how to walk on water—with water on and around us, under water, in a kind of swimming that the text proposes, offers us as a gesture of reading. I am going to work on living water without a jug, in French a cruche, unless we are stupid, cruches. In fact, in a sense, women are cruches in an overdetermined way, and we know, especially since the German romantics that a broken pitcher is the equivalent of a broken ring. Heidegger's pitcher, can be used for any kind of work on border needed for reading.

If one thinks about the tulip or the horse, and, with all respect to Kant, one becomes serious, it no longer works. We can ask the question: how does the tulip have a finality without end? Kant thinks that because the tulip is not useful, therefore it is without a human goal. This can be put into question, since everything in the world has a human end. "The tulip is beautiful only on the edge of this cut without adherence" (Derrida, 88). Somewhere there must be form. The cut produces form. If not, we would have an interminable continuum of matter.

I am still in metaphors; I do not fear them; I am obedient to what this text suggests. " If, for example, one says that one is going to work on a fragment, if one takes the text one is going to work on a priori, visibly, it becomes a very chopped up text. In Agua viva one could say that it is a coast. On the level of signification one cannot find a whole. One could find one on the level of form. Again, one must ask the question: what is form? It is what marks articulation. It is not the beginning or the end of an image, although that can happen.

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