Although best known for his novels The Collector, The Magus, and The French Lieutenant's Woman, John Fowles is also a short story writer, a poet, a respected translator, and a prolific essayist. In his long literary career, he has managed the feats of welding stunning innovation to tradition, pushing the formal boundaries of literary fiction, and still capturing critical acclaim, popular success, and a worldwide readership. In Conversations with John Fowles, the first book of interviews devoted to the English writer, Dianne L. Vipond gathers over twenty of the most revealing interviews Fowles has granted in the last forty years. With critics, scholars, and journalists, he discusses his life, his art, his distinctive world view, and his special relationship with nature. Throughout his interviews, Fowles's remarkable consistency of thought is illuminated as he covers the meaning and genesis of his work. His uncompromising honesty and refreshing lack of guardedness are evident when he compares the naturalness of writing with eating or making love. From the 1960s through the 1990s, this master chronicler of the late half of the twentieth century reveals his serious engagement with social, political, and philosophical issues. He identifies himself with feminism, socialism, humanism, and the environmental movement, and he explores his recurring theme of personal, artistic, and socio-political freedom. His books, he says, "are about the difficulty of attaining personal freedom, especially in terms of discovering what one is." Any reader who has been intrigued, challenged, and entertained by his work in the past is sure to find these conversations spanning the writer's career to be stimulating and revealing. Dianne L. Vipond is a professor of English at California State University, Long Beach. A co- editor of the book Literacy, Language, and Power, she has published articles in English Journal, Short Story, Twentieth Century Literature, and the Los Angeles Times.
By including such multiple points of view, Fowles interrogates the concept of objectivity, suggesting that all perspectives reflect group ... 9 Carlin Romano, “A Conversation with John Fowles”, in Conversations with John Fowles, ed.
A brilliantly imagined novel infused with a profound understanding of human nature, Daniel Martin is John Fowles at the height of his literary powers.
As a 'magpie', with extremely eclectic tastes in reading, Fowles nonetheless exhibits criteria within his own choices ... John Fowles, quoted by Daniel Halpern, in 'A Sort of Exile in Lyme Regis' (1971), rpt. in Conversations with John ...
... 255 Kawabata , Yasunari , 265 Keats , John , 32 , 92 Kennedy , John F , 20 , 266 Kenner , Hugh , 222 Kierkegaard , Soren , 14 King , Stephen , 289 , 302 Kinsella , Thomas , 278 Knopf ( Publisher ) , 37 , 61 Kojak , 180 , 203 Ku Klux ...
Journal of Evolutionary Psychology 13.3/4 (1992): 296–307 and 14.1/2 (1993): 109–18. Print. Baker, James R. “John Fowles: The Art of Fiction CIX.” The Paris Review 111 (Summer 1989): 43–63. Reprinted in Vipond, Conversations, 182–97.
Out of the truths and lies that envelop these events, John Fowles has created a novel that is at once a tale of erotic obsession, an exploration of the conflict between reason and superstition, an astonishing act of literary legerdemain, ...
This dual nature of Fowles's writing is best exemplified by The Magus, which will likely stand the test of time as one of the great masterpieces of ... In Conversations with John Fowles, edited by Dianne L. Vipond, 14–25.
David Gross, 'Historical Consciousness and the Modern Novel: The Uses of History in the Fiction of John Fowles', Studies in the Humanities, 7.1 (1978), pp. 19–27. Constance B. Hieatt, 'Eliduc Revisited: John Fowles and Marie de France', ...
The trees (just coming into leaf) I knew so well, the plants of the ground cover; mercury, pendulous reed, violets, bluebells, primroses. It is not frightening in the least, this loneliness, this feeling that no one ever comes here; ...
Someone like John Fowles gives you story , plot , and a lot of the old nineteenth - century trimmings . The Lynchers is also in a very realistic tradition . I hope that I have learned from the nonrepresentational school about fantasy ...