By Anthony Burgess
Arguing that "the visual appeal of trouble is a part of Joyce's tremendous joke," Burgess offers a readable, available consultant to the writings of James Joyce.
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Extra resources for Re Joyce
All other related materials are listed alphabetically according to author under the Winter in the Blood section of the bibliography. NA RRATIVE POINT OF VIEW Point of view addresses the technical problem of how a story gets told. A Glossary of Literary Terms outlines the various ways an author presents his or her narrative (Abrams 1999, 231–36). ” Abrams further divides thirdperson narration into the omniscient or the limited points of view, each of which has subdivisions. As readers approach Welch’s novels they will raise certain questions about the narrative point of view: Is the story told in first person or third person?
Alan R. Velie contends that Welch was very much aware of Kurt Vonnegut, Philip Roth, Ishmael Reed, and other mainstream writers whose novels, like Welch’s Winter in the Blood, were “fundamentally comic,” although he also places Welch within the framework of the more serious “epiphany” style of Irish novelist James Joyce (Velie 1978, 142–44). ” According to Louise Barnett, Hemingway’s character, Nick Adams, is engaged in a “highly ritualized fishing trip” that serves as a foil for the narrator’s unsuccessful fishing in Winter in the Blood (Barnett 1978, 124).
Welch’s most significant contribution to film is his debunking of the Custer myth in Last Stand at Little Bighorn. In this PBS script, coauthored with Paul Stekler and produced by WGBH/Boston, Welch attacks the image of the savage scalp-hunter and retells the events of June 26, 1876, through an accumulation of data based primarily on Indian accounts told orally by ancestors of the Sioux, Cheyenne, and other tribes. Welch described his initial involvement to me. “A filmmaker [Paul Stekler] called me from Boston and said he’s gotten my name.