The Broken Estate: Essays on Literature and Belief

The Broken Estate Essays on Literature and Belief Published when he was thirty three The Broken Estate is the first book of essays by the man who would become one of America s most esteemed literary critics Ranging in subject from Jane Austen to Joh

  • Title: The Broken Estate: Essays on Literature and Belief
  • Author: JamesWood
  • ISBN: 9780312429560
  • Page: 296
  • Format: Paperback
  • Published when he was thirty three, The Broken Estate is the first book of essays by the man who would become one of America s most esteemed literary critics Ranging in subject from Jane Austen to John Updike, this collection introduced American readers to a new kind of humanist criticism Wood is committed to judging literature through its connection with the soul, its aPublished when he was thirty three, The Broken Estate is the first book of essays by the man who would become one of America s most esteemed literary critics Ranging in subject from Jane Austen to John Updike, this collection introduced American readers to a new kind of humanist criticism Wood is committed to judging literature through its connection with the soul, its appeal to our appetites and identities, and he examines his subjects rigorously, without ever losing sight of the mysterious human impulse that has made these works valuable to generations of readers.

    • [PDF] Download õ The Broken Estate: Essays on Literature and Belief | by ↠ JamesWood
      296 JamesWood
    • thumbnail Title: [PDF] Download õ The Broken Estate: Essays on Literature and Belief | by ↠ JamesWood
      Posted by:JamesWood
      Published :2018-05-17T19:18:06+00:00

    1 thought on “The Broken Estate: Essays on Literature and Belief”

    1. The Broken EstateWhat does Wood mean by a "broken estate"? I wondered this while comfortably reading the Introduction to this book, an essay called "The Freedom of Not Quite".Wood argues that the "old estate" died in the middle of the nineteenth century. This is how he defines it:"I would define the old estate as the supposition that religion was a set of divine truth-claims, and that the Gospel narratives were supernatural reports; fiction might be supernatural too, but fiction was always ficti [...]

    2. A few years ago i bought the box set of 'The West Wing' as a goodly number of my friends had told me I would love it. Thus bought, i proceeded to watch it in huge epic length gulps. Episode after episode were watched and I laughed and gasped and marvelled at the brilliance of the dialogue and plotting, though I regularly had to rewind cos witty and busy politicos in the West Wing talk really, really fast. This is presumably something to do with getting all the lines in before the commercials but [...]

    3. In one of his essays Wood asks what Chekhov meant by "life". After a year of reading Woolf and Flaubert closely, it has been fun drawing conclusions on my own so that I can now compare them to someone like Wood's who is interested in what "life" is and whether literature really has a say in it. If literature's only function is to be a reflection of life then I think it's essentially pointless: that's what friends are for, to see what concerns us and to chuckle at how time-bound we are. I believe [...]

    4. James Woodvs.Don DeLilloNow here’s a real problem; a British literary critic whom I greatly admire, one James Wood, publishes an essay on why he doesn’t like a novel called, Underworld, by one of my favorite authors, the American novelist Don DeLillo. And that pesky rub is somewhere between the two, because I really like DeLillo’s book, while Wood’s 12 page critique of it, is an accurate and dead-on review that would make any fan of literature nod their head in one way or another. The fa [...]

    5. James Wood is a remarkable literary critic. He is perhaps the only practitioner of literary criticism writing today who can help a novelist become better. Wood can do this because he has read more, and more originally, than almost anyone in current circulation. Where New York Times columnists and guests write literary reviews that hope someday to grow into cinematic reviews, Wood writes essays about literature.Here's a long, but I think telling, example from The Broken Estate:Yet [DH] Lawrence h [...]

    6. I liked (and understood large portions of) the ones on Jane Austen, Chekhov, Virginia Woolf, Amis, Pynchon, Delillo, Updike and Sebald. You'll generally get more out of them when you've read the novels he's citing. But bloody hell, an awful lot of the time (e.g. in the essays on Thomas More, Iris Murdoch, Gogol), I genuinely didn't know what the fuck the man was on about and was reminded of the experience of sitting in a Russian Modernism seminar as a student (I jacked in that unit in week three [...]

    7. "The child of evangelicalism, if he does not believe, inherits nevertheless a suspicion of indifference. He is always evangelical. He rejects the religion he grew up with, but he rejects it religiously. He has buried evangelical belief but he has not buried the evangelical choice, which seems to him the only important dilemma. He respects the logical claustrophobia of Christian commitment, the little cell of belief. This is the only kind of belief that makes sense, the revolutionary kind. Nomina [...]

    8. The scholarly rigor of the first essay, "Sir Thomas More: A Man for One Season," surprises. The essay is a review of Peter Ackroyd's biography of Sir Thomas. By way of a heady recapitulation of More's life and times, Wood suggests that Ackroyd's book is little more than hagiography, though he's careful never to use that word. The second essay "Shakespeare in Bloom" is no less kind. (But then kindness is not really what we are looking for here; that can always be got from one of my many books on [...]

    9. There are very few people who hold as good a grasp as James Wood on what makes a novel, and what makes it great. That said, his views on religion trend toward the polemical, to his discredit. The combination of scholarly erudition and eternal self confidence in the face of unknowables give him the air of a professor who, while at the beginning of the term seemed truly great, feels merely self-satisfied by term's end. I can't recall another time I managed to agree with someone so often, but felt [...]

    10. You can’t accuse James Wood of lacking range. These essays run the gamut from Harold Bloom’s influence on Shakespeare studies to the “theology” of George Steiner to the lasting (though indirect) impact of Ernst Renan. Unfortunately, had I not taken notes as I read these two dozen or so essays, I would have quickly forgotten most of the arguments presented herein. At their worst, they are uncontroversial and too subtle perhaps to make an impression. There are a few, though, that are fasci [...]

    11. The best critic out there, and he's theologically literate (if not theologically correct) to boot. I can't wait for his new book. I'm also looking forward to reading his Tolstoy essay from a month or so back in the New Yorker. I've been putting off until I finish War and Peace (I've got about 60 pages to go).

    12. if you are writing your own novel, you'll find some of these essays really inspiring (such as the one on Moby Dick and the contrarian view of Pynchon)

    13. Any reader grappling with T. S. Eliot's infamous anti-semitism should read Wood's essay entitled "T. S. Eliot's Christian Anti-Semitism," which is actually a criticism of a screed by Anthony Julius called "T. S. Eliot Anti-Semitism and Literary Form." James' is an erudite critic, but he seems always to be answering to a Christian literary inheritance, and grappling with mostly Protestant Christian theological questions that no longer seem very important, and this makes him something of an anachr [...]

    14. James Wood is a literary Jedi. He wields words with astonishing agility. In this collection of reviews, he penetrates the tangled web and thoughts, allusions, and metaphor in these complex books and finds the Gordian knot and deftly pierces it to unravel the books meaning, message, and structure. It is remarkable.Not afraid to be critical (as is the job of a critic), but also quick to point out the genius.The final essay is an extremely well thought out summary of modern Christian thought interw [...]

    15. I read most, but not all, of this. It doesn't really hang together as a book. Most (all?) of the chapters seem to have originated as review essays, and though there are repeated threads and ideas linking them, I found I could not be bothered to read the chapters about authors in whom I have no interest (Updike, Roth, etc.) because there was no overarching argument to justify the effort. The best bit is the autobiographical sketch in the final chapter. The best chapter on a specific author is the [...]

    16. Awesome! It took me a long, hard time to finish this intellectually stimulating book, but it was worth every minute. I needed to digest each section to really put some critical critiquing tools in my toolbox.

    17. James Wood’s literary criticism, I must admit, is excellent in its precise insight. I also admit that it is more than pedantic. What truly troubles me about Wood’s book, however, is the very last chapter and essay, The Broken Estate: The Legacy of Ernest Renan and Mathew Arnold. First of all, such a clear agenda does not belong in a book of literary criticism. It is jarringly distinct from the other essays and belongs to be in entirely other collection, if not on its own. Furthermore, Wood [...]

    18. I really enjoyed "How Fiction Works", and liked "The Fun Stuff" enough to buy this collection of essays. The introductory essay was my favorite passage in this book. Wood recalls seeing Beckett's Endgame, and remarks upon how powerful the play's "unrealistic" characters are:Our usual language about how we relate to fictional characters - we "sympathize" with them, "identify," "empathize"- implies a large exchange, a sizable impact, a sharing of identities, but perhaps what [the Endgame] scene re [...]

    19. James Wood writes literary criticism using a standard vocabulary of traditional critical terms, but embellishes the stock phrases with his own metaphors and associations that are often original and clever. However, I'd place his literary essays into two categories: those in which he analyzes writers and their work in order to cast a new perspective on certain texts, most would think as canonical writers, i.e Gogol, Melville, Forster. Then there are the more polemical tracts wherein he focuses hi [...]

    20. as inviting as lightning for those uncharged by contemporary letters. no expense of saliva goes unrewarded at this succession of platonic symposia: on every page some savory crumb of insight awaits the born chewer, and every passage tempts taste to widen its range. i particularly liked the essays on chekhov and the ever-momentous woolf, for in these wood becomes the aging lover reminiscing over the pleasures that once issued his inward growth, paying them tribute by sounding anew the words that [...]

    21. It had been a while since I'd read literary criticism but if one is an avid reader of fiction, I think it's important to supplement that with some critical analysis. Wood certainly provides that and if it weren't for his misreading of DeLillo's "Underworld", one of my favourite books, this would probably be a 5-star rating. Wood's main criticism of the book is that it has a kind of falsely, artificially imposed paranoia, at the expense of character development. Yet the truths of that book do NOT [...]

    22. Mr. Wood illustrated his own approach to literary criticism. As he said, when talking about Virginia Woolf, "The writer-critic is always showing a little plumage to the writer under discussion. If the writer-critic appears to generalize, it is because literature is what she does, and one is always generalizing about one's self". Indeed, Mr. Wood has generalized much of his method of critiques through a carefully selected writers, ranging from English to Norwegian, including the great Melville an [...]

    23. Excellent on literature, really excellent. Less interesting on religion, except in the sense of toying with some notions of postmodern religion. Not as good as Eagleton in this space, as I read it. But on literature, there is great fun in this collection of essays. There are a couple of essays that are sub-par, but the general collection is quite good as literary criticism. I was glad to see our agreement on most of the writers (glad to hear DeLillo and Updike deflated, agree that Chekhov and Go [...]

    24. Borrowing this from Jane, my cousin in law (I've been blessed with two cousins-in-law on that side of the family with a taste in books which nicely compliments my own). James Wood is not religious himself, from what I understand, but, from what I've seen so far, gives a sensitive and thoughtful look at religion and faith in literature. His introduction includes a nice meditation on the differences and similarities between fiction and religion, both of which call for a certain sort of believing, [...]

    25. James Wood is a prickly critic and fond of sweeping judgments, but I still like him, and I liked this collection (although some essays far more than others, hence the three stars). I particularly enjoyed his pieces on Shakespeare, Woolf, Chekhov, and Melville (and perhaps because he shares my glowing feelings toward them). But I found his harshness toward Toni Morrison distasteful, probably because I love her (although I did agree, on the whole, with his verdict on Paradise, which I do not think [...]

    26. Sure James Wood sometimes puts the emphasis in the wrong place or glosses over things you wouldn't or argues from assertion, but he arouses thought as well as any literary critic, rightfully brings in issues of belief and the contexts of theology and philosophy to works/authors that require it, isn't afraid to make aesthetic/moral judgments and can craft and damn good sentence.Excellent stuff here. I enjoyed it much better than How Fiction Works, which now I see what he is capable of may be down [...]

    27. A fascinating compilation of how (mostly) Christian faith influenced some of our most well-known authors. To whet one's appetite, chapter titles include "Jane Austen's Heroic Consciousness," "The All and the If: God and Metaphor in Melville," "The Monk of Fornication: Philip Roth's Nihilism," and "W.G. Sebald's Uncertainty." Obviously James Wood's own faith (or lack thereof) influences his viewpoint. However this is a thoroughly well-written and thought-provoking book. I often find myself re-rea [...]

    28. Wood is a gifted writer who is able to make other writers' vivid and real even if you aren't familiar their work. This collection is very much a testament to Woods' capabilities, and reads a lot like reading several of his New Yorker articles strung together. My only recommendation would be to read this in short bursts (perhaps a chapter each day) rather than straight through (as I did). It's a collection to savor.

    29. Great essay in mostly all my favorite English speaking author, and some Russian. I would have liked somebody else, I mean from other culture and language, but ok, maybe next time, but no, Thomas Mann is not enough.Grande saggio che racconta e approfondisce quasi tutti i miei autori inglesi preferiti, e qualche russo. La prossima volta non mi dispiacerebbe qualche altro autore, magari di una cultura diversa e no, thomas Mann non é abbastanza.

    30. Loving the review of Roth's Sabbath's Theater so much it might make me reconsider reading Roth. Read the Ghost Writer years ago but haven't felt the need to read him since. Same with Updike, whom Wood doesn't have much good to say about. But as with most things by Wood, the review is a literary gem in itself. Looking forward to the chapters on evil - esp after having just read his TNR review of Bloom's Yaweh and Jesus and his comments on gnosticism.

    Leave a Reply

    Your email address will not be published. Required fields are marked *