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• W2894940159 abstract "Katherine Anne Porter, much to her credit, has remained durable prima donna of Southern letters. Age has not seriously withered her nor overexplication staled her considerable variety. Doubtless best evaluation of her achievement may have to wait for another generation. Yet because it has now been over a decade since her last major work appeared, one might expect stage to be set for a critical study that would at least approach something definitive. Though Harry J. Mooney, Jr.'s first monograph of 1957 and George Hendrick's more substantial volume of 1965 in Twayne series are still valuable, they are already in need of updating and, in important instances, of correction. William Nance's Katherine Anne Porter and Art of Rejection of 1964 remains most thorough-going attempt to survey Miss Porter's oeuvre in search of a controlling pattern. Yet, in spite of its valuable perceptions and explications, it cannot entirely escape charge of being thesis-ridden. If no one of these three publications has entirely won approval of author, none has entirely satisfied her readers either. Thus field for a genuinely significant book about Miss Porter's life and work has long been open. I should like to be able to say that at least one of two newest critical treatments meets requirements, but I regretfully must report my feeling that important work is yet to be accomplished. One of first reviewers of Liberman's Katherine Anne Porter's Fiction (the hard-cover edition of 1970) called it exercise in superficiality. This is a harsh judgment, but it cannot be entirely refuted. The basic reason for judgment was that publication's announced purpose--the analysis of formal properties of Miss Porter's fiction--was by no means adequately achieved. Even a quick examination will reveal that work is neither a monograph nor a cohesive and well-ordered series of critical essays. Many of chapters are concerned mainly with rebuttal. The remaining ones are, it is true, notes on of formal and rhetorical aspects of fiction, but they are notes nevertheless. These things being true, in addition to fact that publication, including index and a large number of long inset quotations, runs into only 115 pages, a reviewer might necessarily conclude that it was a small book with an indefensibly large title. Liberman's opening chapter (incidentally printed twice before in easily accessible sources) is designed to proceed immediately to accomplish what author assumes as his real mission: that is, to make some modest contribution to enhancing, if not rescuing, reputation of a splendid writer. Whereas such an attempt might seem largely a work of supererogation, or at least patronage, in light of Miss Porter's still solid eminence, it is true that such later works of fiction as The Leaning Tower and Ship of Fools had evoked quite different critical receptions from those of her earlier publications. The former drew adverse criticism from start. As everyone now knows, latter, after a first wave of enthusiastic approval, ran into rough waters. If one looked at whole range of reviews and critical articles (there were scores of them), situation might not seem so bad as worst reviews made it look. Miss Porter at no time lacked warm supporters. But there is no denying that in America, in England, and in Germany highly unfavorable and even vituperative judgments appeared in print. In view of this situation, though ironically any effect of bad reviews had been all but obliterated by surge of popular approval accorded cinema version of story, Liberman appears as knight in armor to rescue lady from critical dragons; and because, according to back cover of paperback edition of Liberman's Miss Porter herself has called his work the best analysis I have ever seen and most understanding analysis of book, we must assume that he rides to battle displaying his lady's colors. …" @default.
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• W2894940159 date "1974-03-22" @default.
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• W2894940159 title "Katherine Anne Porter" @default.
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