By Bernard Bergonzi
Bernard Bergonzi has been studying Graham Greene for a few years; he nonetheless possesses the unique variation of The finish of the Affair that he acquired while it used to be released in 1951. After a lot fresh recognition to Greene's lifestyles he believes it's time to go back to his writings; during this severe research Bergonzi makes an in depth exam of the language and constitution of Greene's novels, and lines the obsessive motifs that recur all through his lengthy profession. such a lot prior feedback used to be written whereas Greene was once nonetheless alive and dealing, and used to be to some degree provisional, because the ultimate form of his paintings used to be now not but obvious. during this booklet Bergonzi is ready to take a view of Greene's complete profession as a novelist, which prolonged from 1929 to 1988. He believes that Greene's previous paintings used to be his top, combining melodrama, realism, and poetry, with Brighton Rock, released in 1938, an ethical delusion that attracts on crime fiction and Jacobean tragedy, because the masterpiece. The novels that Greene released after the Nineteen Fifties have been very specialist examples of skilful story-telling yet represented a decline from this excessive point of feat. Bergonzi demanding situations assumptions concerning the nature of Greene's debt to cinema, and makes an attempt to elucidate the complexities and contradictions of his non secular principles. even supposing this ebook engages with questions that come up in educational discussions of Greene, it really is written with normal readers in mind.
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Additional resources for A Study in Greene: Graham Greene and the Art of the Novel
As the door swung open, the smoke of engines silted in, grit on the skin and like copper on the tongue. ‘Another gin’. It was her third. Damn him, she thought with tenderness, I’m hungry. She swallowed it at a draught, as she was used to drinking schnapps; skål, skål, but there was noone to skål. (part , ) It is a compelling and evocative opening, which in its attention to visual detail could reasonably be called cinematic. But the information that Kate has been waiting for three-quarters of an hour could not be conveyed in ﬁlm, which exists in a perpetual present tense, where the passing of time can be conveyed only by such devices as the hands of a clock moving forward or leaves blowing off a calendar.
Greene’s jokes with names are private but not altogether inaccessible, given a certain amount of biographical information. One of them, however, remained obscure for a long time. , on the run from his enemies, takes refuge in an empty London ﬂat; the name by the bell is ‘Glover’. This was inexplicable until Greene’s biographer revealed that at that time he had a mistress called Dorothy Glover. Other parallels and repetitions remain puzzling. There is, for instance, no obvious reason why the principal male and female characters in both The End of the Affair and The Human Factor should be named Maurice and Sarah.
Anthony is a familiar type: the charming ne’er-do-well, with his plausible manner, his one good suit, his public-school accent, and his impractical schemes for making money; he takes jobs in foreign parts but never holds them down for long and is soon back in England, sponging on his family. Kate is cleverer and more determined. She has in a sense emancipated herself, and has moved to Sweden where she is personal assistant and mistress of the ﬁnancier Erik Krogh, Greene’s version of Kreuger. In the opening of the novel Kate is in England on a visit and has arranged to meet Anthony in the bar of a railway station; characteristically, he is late: She might have been waiting for her lover.
A Study in Greene: Graham Greene and the Art of the Novel by Bernard Bergonzi