Wormholes: Essays and Occasional Writings

Here, with Wormholes, for the first time is a representative gathering of Fowles's fugitive and intensely personal nonfiction writings: essays, literary criticism.
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Fowles explored yet another genre, historical fiction, with his best-known novel, The French Lieutenant's Woman, which received the W. An intriguing feature of this novel is that it has three different endings.


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Fowles's nonfiction includes Aristos: Essays and Other Occasional Writings. In addition, he has written the text for several books of photographs, including The Tree, for which Fowles received the Christopher Award in He died on November 5, at the age of What I like about Fowles is his humanism,his plain-speaking and getting intellectually to the main point,his lack of fuss.

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In these collected essays,introductions to books and literary articles,they are all personal writings,literary criticism,autobiography,memoirs,his literary influences,love of old books,nature-pieces and travel. What is evident is his magpie,tangential mind. We get served the idea of the lost domaine,woman as princesse lointaine,the idea of the importance of hazard in nature and creativitity.

He admits to a love of solitude, geographically and socially.


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Love of both France and Greece inspired his prenovelistic self.. Both as teacher and preacher he feels on a par with DH Lawrence as regards the role of the novel,with Jane Austen about central moral positions.

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With fellow exiles,Golding,Alain-Fournier,Hardy,he detects an irrecoverable sense of loss,Gardens of Eden,childhood innocence,idealized mothers, unattainable objects of desire. Loss is essential to the writer and drives him. Nature,Devon,his own private Eden are his sanctuary and retreat and check against that loss. He expresses anger as a conservationist against the destruction of natural landscapes.

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Nature needs to be respected not sentimentalised. He venerates the wild,le sauvage. The novel is not dead and he dislikes absurdist pessimism fashions in life. Existential awareness of the now is what he most prizes in art,indeterminacy,the fork in the road,the unknown,the inability to end,uncertainty, mystery, secrets.

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He is the shaman who knows he has to lie as a novelist,but yearns to express a whole truth. Fowles' non-fiction will be less familiar, having typically appeared as magazine articles or as book prefaces.

Wormholes: Essays and Occasional Writings

Wormholescollects most ofthese scattered essays into one volume, introduced by English scholarJan ReIfand arranged into four topic areas: This last group, eleven essays in literary criticism, will be ofparticular interest to language professionals. Fowles proceeds to use himself as a case study in reader-response criticism leading to speculation aboutwhy some works last and others do not. Two other essays are about Thomas Hardy, Fowles' predecessor in Dorset as novelist and local historian.

In "Hardy and the Hag," Fowles draws on psychological theory about artists who are particularly sensitive to loss ofintimacy with the mother and expend their adult literary efforts pursuing the recovery of that state; he speculates over how such a sense ofloss may have energized Hardy, and how these possibilities apply to his own situation as a husband and as a writer.

The other essays on literature also focus on writers ofsome personal interest to Fowles.

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Although "Conan Doyle" examines formal techniques in The Hound of the Baskervilles to arrive at insights into the appeal — and limitations — ofdetective fiction, part of the story's attraction for Fowles is evidently its setting on Dartmoor, a stark landscape that Fowles knows intimately. In "John Aubrey and the Genesis of the Monumenta Britannica, " as Fowles traces the work and mental habits of the seventeenth-century antiquarian, a reader may notice that Fowles and his subject both share a fascination with Stonehenge as well as a tendency to work unsystematically.

Reading this essay, one wonders ifFowles — like Alain-Fournier, or Hardy, or Dante — also wrote under the spell ofan attraction he never quite got over. In " TheMan Who Died: