All Dressed Up and Nowhere to Go
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Auteur:
Malcolm Bradbury
- Engels
- Paperback
- 9781504005364
- 19 mei 2015
- 180 pagina's
Malcolm Bradbury
Malcolm Bradbury is a novelist, critic, television dramatist and Emeritus Professor of American Studies at the University of East Anglia. He is author of the novels
Eating People is Wrong (1959);
Stepping Westward (1965);
The History Man (1975); which won the Royal Society of Literature Heinemann Prize and was adapted as a famous television series;
Rates of Exchange (1983) which was shortlisted for the Booker Prize;
Cuts: A Very Short Novel (1987), also televised; and
Doctor Criminale (1992). His critical works include
The Modern American Novel (1984; revised edition, 1992);
No, Not Bloomsbury (essays, 1987);
The Modern world: Ten Great Writers (1988);
From Puritanism to Post-modernism: A History of American Literature (with Richard Ruland, 1991) He is the author of a collection of seven stories and nine parodies, entitled
Who Do You Think You Are? (1976), and of several works of humour and satire, including
Why Come to Slaka? (1986),
Unsent Letters (1988; revised edition, 1995) and
Mensonge (1987). Many of his books are published by Penguin. In addition, he has written many television plays and the television 'novel'
The Gravy Train and
The Gravy Train Goes East. He has adapted several television series, including Tom Sharpe's
Porterhouse Blue, Kinglsey Amis's
The Green Man and Stella Gibbon's'
Cold Comfort Farm, now a feature film.
Malcolm Bradbury lives in Norwich, travels good deal, and in 1991 he was awarded the CBE.
Samenvatting
Malcolm Bradburys humorous look at Britains transition to midcentury modernity
After spending a year teaching in an American university in the 1950s, Malcolm Bradbury returned to England only to realize that his native country had become nearly as mystifying to him as the American Midwest. As Britain marched toward a new decade, much of the country was changing inexorably, its agrarian past paved over by suburban developers, its quiet traditionalism replaced by beehive hairdos and shiny, glass-walled office buildings. And so, to confront this curious moment in British history, Bradbury turned to the sharpest tool in his arsenal: humor. In All Dressed Up and Nowhere to Go, he writes of a country balancing precariously on the boundary of two worlds, with the wry wit and keenly observant eye that have made him one of the twentieth centurys greatest satirists.
After spending a year teaching in an American university in the 1950s, Malcolm Bradbury returned to England only to realize that his native country had become nearly as mystifying to him as the American Midwest. As Britain marched toward a new decade, much of the country was changing inexorably, its agrarian past paved over by suburban developers, its quiet traditionalism replaced by beehive hairdos and shiny, glass-walled office buildings. And so, to confront this curious moment in British history, Bradbury turned to the sharpest tool in his arsenal: humor. In All Dressed Up and Nowhere to Go, he writes of a country balancing precariously on the boundary of two worlds, with the wry wit and keenly observant eye that have made him one of the twentieth centurys greatest satirists.
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