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- W2410497175 abstract "William Golding’s Lord of the Flies (1954) must be one of the most taught of all novels. Pride and Prejudice and Great Expectations presumably lead it among British set books, but not in the world as a whole. Orwell’s Animal Farm and 1984 are rivals there and Golding’s story could be placed with them in a privileged genre of ‘fables for our time’, but Lord of the Flies is more a novel than they are. Like the books which immediately followed it, The Inheritors (1955), Pincher Martin (1956), Free Fall (1959), The Spire (1964) and The Pyramid (1967), and the more recent The Scorpion God (1973) and Darkness Visible (1979), it is highly individual, and like them it is an ambitiously conceived literary work. Unlike any of the others, it has proved a popular success, known and discussed far beyond the limits of the normal novel-reading public. As a much studied, widely read work with a reputation for contemporary relevance it has of course acquired numerous critical commentators; Frank Kermode, perhaps its most distinguished critic, has called it ‘profoundly attuned to the contemporary sensibility’.1 In view of this success as a ‘novel for our time’, it seems significant to find it so often explained as a refutation of ‘Victorianism’. Despite its independent status as a modern masterpiece, it is invariably praised in relation to supposed shortcomings in the popular culture of a hundred years earlier; although it is agreed to be a book of adult seriousness, it is constantly contrasted with a Victorian juvenile adventure story." @default.
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- W2410497175 date "1981-01-01" @default.
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- W2410497175 title "Golding’s Lord of the Flies, Ballantyne’s Coral Island and the Critics" @default.
- W2410497175 doi "https://doi.org/10.1007/978-1-349-05712-2_9" @default.
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