Western Literature III: The Modern World

Literature & Fiction

Brooks, Peter

History & Criticism

Harcourt College Pub.

A book on the experience of reading Honore de Balzac's La Comedie humaine which recounts the process of Peter Brooks's own discovery of Balzac.A personal account of coming to terms with Balzac: moving from more classical and restrained authors to the highly-coloured melodramatic novels of the Human Comedy, which give us the dynamics of a new and challenging world on the threshold of modernity. This volume shows readers how to read, and tolove reading, Balzac, and how to engage with his vast work.

Honoré de Balzac (My Reading)

Oxford University Press

A book which should appeal to both literary theorists and to readers of the novel, this study invites the reader to consider how the plot reflects the patterns of human destiny and seeks to impose a new meaning on life.

Reading for the Plot: Design and Intention in Narrative

No one answered when I tapped at the back door of Madumo's home on Mphahlele Street a few days after my return to Soweto, so I pushed the buckling red door in a screeching grind of metal over concrete and entered calling, "Hallo?" So begins this true story of witchcraft and friendship set against the turbulent backdrop of contemporary Soweto. Adam Ashforth, an Australian who has spent many years in the black township, finds his longtime friend Madumo in dire circumstances: his family has accused him of using witchcraft to kill his mother and has thrown him out on the street. Convinced that his life is cursed, Madumo seeks help among Soweto's bewildering array of healers and prophets. An inyanga, or traditional healer, confirms that he has indeed been bewitched. With Ashforth by his side, skeptical yet supportive, Madumo embarks upon a physically grueling treatment regimen that he follows religiously-almost to the point of death-despite his suspicion that it may be better to "Westernize my mind and not think about witchcraft." Ashforth's beautifully written, at times poignant account of Madumo's struggle shows that the problem of witchcraft is not simply superstition, but a complex response to spiritual insecurity in a troubling time of political and economic upheaval. Post-apartheid Soweto, he discovers, is suffering from a deluge of witchcraft. Through Madumo's story, Ashforth opens up a world that few have seen, a deeply unsettling place where the question "Do you believe in witchcraft?" is not a simple one at all. The insights that emerge as Ashforth accompanies his friend on an odyssey through Soweto's supernatural perils have profound implications even for those of us who live in worlds without witches.

Troubling Confessions: Speaking Guilt in Law and Literature

Biographies & Memoirs

Historical

University of Chicago Press

The constant call to admit guilt amounts almost to a tyranny of confession today. We demand tell-all tales in the public dramas of the courtroom, the talk shows, and in print, as well as in the more private spaces of the confessional and the psychoanalyst's office. Yet we are also deeply uneasy with the concept: how can we tell whether a confession is true? What if it has been coerced? In Troubling Confessions, Peter Brooks juxtaposes cases from law and literature to explore the kinds of truth we associate with confessions, and why we both rely on them and regard them with suspicion. For centuries the law has considered confession to be "the queen of proofs," yet it has also seen a need to regulate confessions and the circumstances under which they are made, as evidenced in the continuing debate over the Miranda decision. Western culture has made confessional speech a prime measure of authenticity, seeing it as an expression of selfhood that bears witness to personal truth. Yet the urge to confess may be motivated by inextricable layers of shame, guilt, self-loathing, the desire to propitiate figures of authority. Literature has often understood the problematic nature of confession better than the law, as Brooks demonstrates in perceptive readings of legal cases set against works by Rousseau, Dostoevsky, Joyce, and Camus, among others. Mitya in The Brothers Karamazov captures the trouble with confessional speech eloquently when he offers his confession with the anguished plea: this is a confession; handle with care. By questioning the truths of confession, Peter Brooks challenges us to reconsider how we demand confessions and what we do with them.

The constant call to admit guilt amounts almost to a tyranny of confession today. We demand tell-all tales in the public dramas of the courtroom, the talk shows, and in print, as well as in the more private spaces of the confessional and the psychoanalyst's office. Yet we are also deeply uneasy with the concept: how can we tell whether a confession is true? What if it has been coerced? In Troubling Confessions, Peter Brooks juxtaposes cases from law and literature to explore the kinds of truth we associate with confessions, and why we both rely on them and regard them with suspicion. For centuries the law has considered confession to be "the queen of proofs," yet it has also seen a need to regulate confessions and the circumstances under which they are made, as evidenced in the continuing debate over the Miranda decision. Western culture has made confessional speech a prime measure of authenticity, seeing it as an expression of selfhood that bears witness to personal truth. Yet the urge to confess may be motivated by inextricable layers of shame, guilt, self-loathing, the desire to propitiate figures of authority. Literature has often understood the problematic nature of confession better than the law, as Brooks demonstrates in perceptive readings of legal cases set against works by Rousseau, Dostoevsky, Joyce, and Camus, among others. Mitya in The Brothers Karamazov captures the trouble with confessional speech eloquently when he offers his confession with the anguished plea: this is a confession; handle with care. By questioning the truths of confession, Peter Brooks challenges us to reconsider how we demand confessions and what we do with them.

In this lucid and fascinating book, Peter Brooks argues that melodrama is a crucial mode of expression in modern literature. After studying stage melodrama as a dominant popular form in the nineteenth century, he moves on to Balzac and Henry James to show how these "realist" novelists created fiction using the rhetoric and excess of melodrama - in particular its secularized conflicts of good and evil, salvation and damnation. The Melodramatic Imagination has become a classic work for understanding theater, fiction, and film.

Melodramatic Imagination

Columbia Univ. Pr.

In this lucid and fascinating book, Peter Brooks argues that melodrama is a crucial mode of expression in modern literature. After studying stage melodrama as a dominant popular form in the nineteenth century, he moves on to Balzac and Henry James to show how these "realist" novelists created fiction using the rhetoric and excess of melodrama - in particular its secularized conflicts of good and evil, salvation and damnation. The Melodramatic Imagination has become a classic work for understanding theater, fiction, and film.

The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess

Yale University Press

Realist Vision

Realist Vision exploresthe claim to represent the world as it is.” Peter Brooks takes a new look at the realist tradition and its intense interest in the visual. Discussing major English and French novels and paintings from the nineteenth and twentieth centuries, Brooks provides a lively and perceptive view of the realist project. Centering each chapter on a single novel or group of paintings, Brooks examines the invention” of realism beginning with Balzac and Dickens, its apogee in the work of such as Flaubert, Eliot, and Zola, and its continuing force in James and modernists such as Woolf. He considers also the painting of Courbet, Manet, Caillebotte, Tissot, and Lucian Freud, and such recent phenomena as photorealism” and reality TV.”

British & Irish

Realist Vision explores the claim to represent the world “as it is.” Peter Brooks takes a new look at the realist tradition and its intense interest in the visual. Discussing major English and French novels and paintings from the nineteenth and twentieth centuries, Brooks provides a lively and perceptive view of the realist project.Centering each chapter on a single novel or group of paintings, Brooks examines the “invention” of realism beginning with Balzac and Dickens, its apogee in the work of such as Flaubert, Eliot, and Zola, and its continuing force in James and modernists such as Woolf. He considers also the painting of Courbet, Manet, Caillebotte, Tissot, and Lucian Freud, and such recent phenomena as “photorealism” and “reality TV.”

Arts & Photography

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Books by Brooks, Peter

See the best price to sell, buy, or rent books by Brooks, Peter. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Western Literature III: The Modern World

Honoré de Balzac (My Reading)

Reading for the Plot: Design and Intention in Narrative

Troubling Confessions: Speaking Guilt in Law and Literature

Troubling Confessions: Speaking Guilt in Law and Literature

Troubling Confessions: Speaking Guilt in Law and Literature

Melodramatic Imagination

The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess

Realist Vision

Realist Vision