He first tried journalism which he found stifling: He prefers Marlowe to Shakespeare, his literary ideal is Balzac, and why, he asks, must Henry James avoid decisive 'action' -- why is everything suppressed?
Respectability is a "killing octopus," he avers; education destroys humanity, the masses only appreciate conventionality, "home" is the antithesis of freedom, books attract us like people often for the same reasons and art reflects the "the spirit of an age. Eggs frizzling in butter, the pungent cigarette, coffee and cognac, the fragrant odour of absinthe; and the steaming soup. Whiffle even has an orange cat named George Moore.
English Literature in Transition, 1880-1920
View all 12 comments. May 12, ErinG rated it liked it. George Moore writes of a man [himself] in his twenties, searching for his passion. First, its art, then realizing it wouldn't work for him, he switches to reading and writing. Its a very honest book, from the insight of a privileged young man in a different time. I enjoyed his opinions and critiques of the authors he's read and how they changed throughout his twenties. I gave it three stars only because he was so arrogant and unlikeable.
Confessions of a Young Man
Feb 28, Richard Epstein rated it it was ok. There are those who claim to have finished books by George Moore, but I don't believe them. First 40 or 50 pages are promising, then arrogance enters to spoil the rest of the book. He dreams of Pleasure and he is offered Duty.
Confessions of a young man
Whistler the least Impressionistic Oh, for excess, for crime. I would give many lives to save one sonnet by Baudelaire England's greatest son Cromwell was the personification of injustice May 27, Samuel Parker rated it liked it. Moore's false modesty disintegrates as the narrative progresses, leaving the reader with an insightful, if somewhat egoistic, read about art and life in Paris circa the late 19th century.
In his day George Moore regarded Joyce, his younger compatriot, with distaste: Someone recently sent me a copy of Ulysses. I was told I must read it, how can one plow through such stuff? Joyce, Joyce, why he's nobody - from the D Moore's false modesty disintegrates as the narrative progresses, leaving the reader with an insightful, if somewhat egoistic, read about art and life in Paris circa the late 19th century.
Joyce, Joyce, why he's nobody - from the Dublin docks: Feb 29, Nate rated it really liked it.
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Mar 05, L. O'Neil rated it liked it. For its era -- s turn of the century -- this narrative offers insight to lifestyles of gay dandies and man about town a century ago, told through the POV of a character who believes himself a literary phenomenon. Snoozed through some passages about protagonist's hero worship of close friend. Per leggere la recensione vai su: Allan rated it it was ok Dec 10, Bryan Moloney rated it really liked it Jun 06, Fleur rated it it was ok Jul 15, Timothy rated it liked it Jan 04, Ruth Johnstone rated it liked it Feb 01, Nikola rated it it was ok May 25, Carlos Alberto rated it liked it Dec 30, Jess rated it liked it Mar 13, Sarah rated it did not like it May 22, Savannah Bacon rated it liked it Mar 22, Will rated it really liked it May 30, Sam Fickling rated it really liked it Sep 09, Zero rated it liked it Jul 07, Gradually the strident tone and often awkward prose of the original mellowed and became more sophisticated, and Moore's compression of the original meterial enhanced the dramatic element in the plot as the 88 extensive monologue of the earlier versions gave way to incident in the later.
The result was greater narrative and thematic clarity and force. Purged of its most objectionable traits, the book gains in depth, insight, and subtlety. True, it has its faults, moments when the tone falters or the desire to shock is rather transparent, but on the whole it is an energetic, clever, and engaging human comedy. Thus Moore's final revision, which reflects his hard-won artistic maturity, is clearly the version which merits critical attention. Perhaps the most important single revision has to do with the changing role of the persona.
Originally Moore presented his confessions through a fictional narrator whom he called Edwin Dayne.
There is, of course, in an autobiography the distinction to be observed between the autobiographer and the persona he creates to tell his story. That persona is an interpretation of the self. Such critics as Wayne Shumaker and Barrett John Mandel have insisted that the intent to interpret one's experience is an indispensable feature of autobiography.
Confessions of a Young Man - George Moore - Google Книги
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