Joyce’s Voices (American Literature Series) by Professor Hugh Kenner (PDF)

Description

An original and entertaining study of, chiefly, Ulysses . . . This is a most stimulating book. Anthony Burgess

User’s Reviews

Editorial Reviews: Review “Kenner’s work is an achievement of a polymath: it ranges from Jonathan Swift to Flaubert, and from Dickens to T. S. Eliot, circling around its two main concerns: Joyce’s Ulysses and the death of objectivity as a privileged style in modern literature.” (Choice)“As always, Kenner is original, provocative, stimulating, occasionally perverse, and immensely readable . . . The book offers important new insights into Joyce’s art.” (Library Journal)“The volume is easy to handle and a delight to read. And Kenner’s leaping wit, his metaphors, his transitions from insight to insight, his lively attention to Joyce’s invention—these qualities make it difficult, if you pick it up one evening, not to finish it before turning off the light.” (National Review) About the Author Hugh Kenner (1923-2003) was one of America’s great literary critics. He wrote on a range of subjects that includes Ezra Pound, James Joyce, Samuel Beckett, T. S. Eliot, and geodesic domes.

Reviews from Amazon users which were colected at the time this book was published on the website:

⭐Hugh Kenner draws on a life time of study, and an exquisite understanding of the prosody of Joyce’s technique. He has other longer books on Joyce’s work, but this brief gem adds a luster to the other works.

⭐great book indeed

⭐If you’re a modern day graduate student (or worse, a professor), you know that modern scholars aren’t allowed to write the way Kenner wrote. More’s the pity, too: Joyce’s Voices is one of the most illuminating short works of criticism, even by New Critics’ standards, which for stylistic agility were remarkably high. As Kenner said, he was almost solely responsible for putting the university at which he worked on the map, and it was that level of nonchalant genius that permeates this work.Viewed first through a comparison between “objective” or “empirical” treatments of experience by other authors, Kenner shows the ways that Joyce sought to illuminate observed experience through a new means: the lens of style for its own sake. Without resorting to the jargon or jingoism that so commonly pervades academia, Kenner reveals Joyce’s talent for pursuing his muse through a panopoly of styles and stylistic gestures that leaves one more capable of understanding, and therefore appreciating, Ulysses than ever before.

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