Marxism and Literature: Edmund Wilson

'He used to say that the poets were originals, who must be allowed to go their own way, and that one shouldn't apply to them the same standards as to ordinary people,' as Marx's daughter wrote of her father, a quotation which appears in 'Marxism and Literature,' an essay in The Triple Thinkers. While he wrote extensively on the relationship between political ideologies such as Marxism and Literature, he opposed any pre-formulated critical frameworks, or what he called "a process of lopping and distortion to make [the work] fit the Procrustes bed of a thesis."

Two Uses of Language: IA Richards

“Richards provide the theoretical foundations on which the technique of  verbal analyses was built.” George Watson. Ivor Armstrong Richards (1893 - 1979) is the first-rate critic, since Coleridge, who has formulated a systematic and complete theory of poetry, and his views are highly original and illuminating. In his “Principles of Literary Criticism” chapter 34, he discusses the most neglected subject, i.e. The Theory of Language and The Two Uses of Language. To understand much the theory of poetry and what is said about poetry, a clear comprehension of the differences between the uses of language is indispensable. David Daiches says, “Richards conducts this investigation in order to come to some clear conclusions about what imaginative literature is, how it employs language, how its use of language differs from the scientific use of language and what is its special function and value.” According to I.A. Richards language can be used in two ways, i.e. the scientific use and the emotive one.

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Margaret Drabble

Margaret Drabble lives in a red house along a row of terrace houses just up the hill from Hampstead Heath. Her sitting room is also red—bright red—and stretches from the front bay windows, which are filled with plants to a large back window that looks out onto the garden. Along one wall there are floor-to-ceiling bookshelves and in one corner there is a baby grand. On top of the piano sits a plant that was given to the author by Doris Lessing. “I don't know what Doris's plant is called. I call it a funnel plant because it has a kind of funnel down which one waters it. Once, it had a big pink bottle brush flower, but I think it never will again.”

Joseph Haller

This interview with Joe Heller took place during the week of the publication of Something Happened—a literary event of considerable significance, because the novel is only the second of the author’s career. The first, of course, was Catch-22. The fact that it has taken more than a decade to produce a second work of fiction seems of small concern to Heller, because he has evolved a definite and unique pattern of work that is not at all determined by deadlines and other arbitrary demands. He says he always wanted to be a writer. His earliest story was pecked out on a neighborhood boy’s typewriter and ultimately rejected by the Daily News short-short story editor. His career moved at its own pace. He did no writing during his war years in Italy. 

Anthony Powell

With the publication of Hearing Secret Harmonies, Anthony Powell's long serial novel, A Dance to the Music of Time, will have reached its climax. And to judge from the reception accorded to previous volumes, the applause in the U.S.A. will be as loud, if not louder, than that which greeted the completion of the sequence in Britain. For like his contemporary, Evelyn Waugh, to whom he has often been compared, Powell has successfully bridged the Atlantic despite the uncompromisingly “English” nature of his art.