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Concerning E. M. Forster, by Frank Kermode
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A major reassessment of the great English novelist
This impressive new book by the celebrated British critic Frank Kermode examines hitherto neglected aspects of the novelist E. M. Forster's life and work. Kermode is interested to see how it was that this apparently shy, reclusive man should have claimed and kept such a central position in the English writing of his time, even though for decades he composed no fiction and he was not close to any of his great contemporaries―Henry James, Ford Madox Ford, Joseph Conrad, James Joyce.
Concerning E. M. Forster has at its core the Clark Lectures that Kermode gave at Cambridge University in 2007 on the subject of Forster, eighty years after Forster himself gave those lectures, which became Aspects of the Novel. Kermode reappraised the influence and meaning of that great work, assessed the significance of Forster's profound musicality (Britten thought him the most musical of all writers), and offered a brilliant interpretation of Forster's greatest work, A Passage to India. But there is more to Concerning E. M. Forster than that. Thinking about Forster vis-àvis other great modern writers, noting his interest in Proust and Gide and his lack of curiosity about American fiction, and observing that Forster was closest to the people who shared not his literary interests or artistic vocation but, rather, his homosexuality, Kermode's book offers a wise, original, and persuasive new portrait not just of Forster but of twentieth-century English letters.
- Sales Rank: #2187673 in Books
- Published on: 2010-11-23
- Released on: 2010-11-23
- Original language: English
- Number of items: 1
- Dimensions: 7.97" h x .52" w x 5.31" l, .44 pounds
- Binding: Paperback
- 180 pages
From Publishers Weekly
Noted literary critic Kermode (Shakespeare's Language) presents in part his 2007 Clark lectures at Trinity College, Cambridge, given eight decades after Forster's own Clark lectures (published as Aspects of the Novel) and in part a causerie (a loosely organized sequence of observations), in which Forster is reduced in size, placed in a wider context, and occasionally scolded. Kermode provides erudite and good-humored insights into Forster's artistic philosophies, plus deft analyses of the techniques of Forster's contemporaries, such as Henry James (whose style Forster disliked), Virginia Wolfe, Ford Madox Ford and Forster favorite Marcel Proust. Enlarging on Benjamin Britten's remark that Forster was our most musical novelist, Kermode shows how musical transformation and return of phrases was an art he practiced with success in his novels. Kermode makes the case that Forster's homosexuality was the reason for his long abstention from fiction and establishes that Forster placed himself in a cultivated minority above the working classes. Kermode is a delightful mentor for readers wishing to reflect not only on Forster's creativity but on the personal and social circumstances that restricted it. (Dec.)
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Review
"Praise for Pieces of my Mind
""[Kermode's] essays and reviews . . . are a model of disinterested intelligence, fueled by a lifetime of reading and learning." --William H. Pritchard, "Chicago Tribune
""A sane, steady voice in English letters . . . What distinguishes [Kermode] is his sheer range of interests. Never a period specialist, he ranged freely over the whole of literature, just as keen on the hurly-burly of Elizabethan England as he is on writers of the modern period . . . An exemplary close reader, who can tease out a given work's most subtle frequencies." --Matthew Price, "The Boston Globe
"
Praise for "Shakespeare's Language
""A magnificent book, the honey of a lifetime's visits to the Shakespearean garden . . . Superb." --James Wood, "The New Republic
""A sane, canny, steadily informative book." --Brad Leithauser, "The New York Times Book Review"
"Praise for Pieces of my Mind
""[Kermode's] essays and reviews . . . are a model of disinterested intelligence, fueled by a lifetime of reading and learning." --William H. Pritchard, "Chicago Tribune
""A sane, steady voice in English letters . . . What distinguishes [Kermode] is his sheer range of interests. Never a period specialist, he ranged freely over the whole of literature, just as keen on the hurly-burly of Elizabethan England as he is on writers of the modern period . . . An exemplary close reader, who can tease out a given work's most subtle frequencies." --Matthew Price, "The Boston Globe
"
Praise for "Shakespeare's Language
""A magnificent book, the honey of a lifetime's visits to the Shakespearean garden . . . Superb." --James Wood, "The New Republic
""A sane, canny, steadily informative book." --Brad Leithauser, "The New York Times Book Review"
About the Author
Frank Kermode (1919-2010) is the author of many books, including Shakespeare's Language (FSG, 2000), Not Entitled (FSG, 1995), Forms of Attention, and The Sense of an Ending. He taught extensively in the United States, and lived in Cambridge, England.
Most helpful customer reviews
21 of 23 people found the following review helpful.
Aspects of Forster
By Charlus
Not since Lionel Trilling has such an eminent critic weighed in on EM Forster. The first half of the book consists of the three Clark Lectures Kermode gave at Cambridge, Forster's alma mater, and are clearly meant as formal pieces, each touching upon a different Forsterian topic. The first concerns Forster's series of Clark lectures that were also collected into a book: "Aspects of the Novel". The second explores musicality of Forster, both in his prose (his leitmotifs, strongly influenced by Wagner), his writing about music (the Beethoven in "Howard's End", the opera in "Where Angels Fear to Tread", the piano piece in "A Room With A View") as well as his collaboration with Britten. Finally Kermode touches on what he feels is Forster's masterpiece, "A Passage To India" and how hard he worked to be vague yet believable in order to create the sense of mystery and the unknowable at the heart of that novel.
The second half is a freely flowing (and truth be told at times mildly repetitive) discourse of topics of interest to Kermode about Forster and allows him to be a bit more critical,exploring the strengths as well as the perceived weaknesses (e.g. Forster's condescension to a character such as Leonard Bast). This part is less carefully argued but in a way even richer, as it lets Kermode have free reign over what interests him: Edward Carpenter's influence, the role of Bloomsbury and Forster's relationship with Virginia Woolf, Forster's strengths and limitations as a literary critic, etc.
The whole book is unbelievably stimulating, like having a conversation with an amazingly learned man (which Kermode obviously is) about a writer you both love, even if your own is unstinting and his comes with reservations. Not a page is turned without some insight, some intriguing fact or some well argued opinion to keep you interested. Literary criticism rarely comes this good from start to finish and fans of Forster especially will place this volume alongside their Trilling as work that has become essential to their conversation about this wonderful writer and humane man.
4 of 5 people found the following review helpful.
Witty Moralist
By Mary E. Sibley
Forster liked the moralism of H.G. Wells better than Henry James. To Forster WAR AND PEACE was the greatest of all novels. James called it a baggy monster. In ASPECTS OF THE NOVEL Forster distinguishes story from plot. Forster accepted models for his fiction in the works of Flaubert, Maupassant, Turgenev. He admired Proust. Forster didn't analyze THE GOOD SOLDIER by Ford Madox Ford and its use of an unreliable narrator.
Greatness interested Forster. Benjamin Britten claimed that Forster was the most musical novelist of his place and time. A piece by Forster on George Crabbe inspired Britten to write his first opera, PETER GRIMES. Forster collaborated on the libretto for BILLY BUDD. Britten liked Forster's treatment of Beethoven's Fifth Symphony in HOWARD'S END. Wagner crops up in THE LONGEST JOURNEY. Forster told the PARIS REVIEW that in novel writing he preferred creative accident to conscious forethought.
Lionel Trilling remarked that Forster refused greatness. Forster at different times considered whether Virginia Woolf, Andre Gide, and Edward Carpenter were great. Forster laments that there is no religion, no philosophy in the novels of Henry James. Forster is interested in the superhuman. In the second part of the book, Kermode looks at E.M. Forster's life as an artist.
One thinks of Forster as primarily the writer of five novels. At the time of his death in 1970 he was still famous. Of his contemporaries only Bertrand Russell outlived him. Publication of ROOM WITH A VIEW and HOWARD'S END elevated Forster to a select company. Finally, A PASSAGE TO INDIA was considered a modern classic. He had been an obscure young man. He never experienced poverty. His adult clique came out of Cambridge, (King's College and the Apostles). Forster felt that David Garnett, as a reviewer, helped to promote the positive public reception of his earliest novels to be issued, WHERE ANGELS FEAR TO TREAD and THE LONGEST JOURNEY. Garnett was a discriminating critic, he had proved to understand the art of Conrad and D.H. Lawrence.
There is a full-throated discussion of Forster's treatment of his character Leonard Bast from HOWARD'S END in this book. It seems the problem is one of class. I guess the issue was did the author portray his character fairly. Given Forster's biases, it is assumed he could not. Forster is on record as finding workers uninteresting. Apparently Forster didn't make much attempt to read systematically. D.H. Lawrence described Forster as the last Englishman. Kermode suggests that Forster is the modern version of the witty clergyman.
4 of 5 people found the following review helpful.
Loving E. M. Forster
By D. Jacobson
If you are a fan of E. M. Forster, you will enjoy this book. Frank Kermode gives his own critique of Forster's Aspects of a Novel and adds his thoughts on Forster's novels, especially Passage to India. He obviously enjoys Forster's works, but can still step away enough to relate some criticism. Kermode has an easy writing style, scholarly but not overshadowed with pretension. For lovers of Forster, this book will broaden your appreciation.
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