Albert J. Guerard - Publications - Criticism

Criticism

  • Robert Bridges: A Study of Traditionalism in Poetry. Cambridge, Massachusetts, Harvard University Press, and London, Oxford University Press, 1942.
  • Joseph Conrad. New York, New Directions, 1947.
  • Thomas Hardy: The Novels and Stories. Cambridge, Massachusetts, Harvard University Press, 1949; London, Oxford University Press, 1950; revised edition, 1964.
  • André Gide. Cambridge, Massachusetts, Harvard University Press, and London, Oxford University Press, 1951; revised edition, 1969.
  • Conrad the Novelist. Cambridge, Massachusetts, Harvard University Press, 1958; London, Oxford University Press, 1959.
  • The Triumph of the Novel: Dickens, Dostoevsky, Faulkner. NewYork, Oxford University Press, 1976; London, Oxford University Press, 1977.
  • The Touch of Time: Myth, Memory, and the Self. Stanford, California, Stanford Alumni Association, 1980.
  • Editor, Prosateurs Américains de XXe Siécle. Paris, Laffont, 1947.
  • Editor, The Return of the Native, by Thomas Hardy. New York, HoltRinehart, 1961.
  • Editor, Hardy: A Collection of Critical Essays. Englewood Cliffs, New Jersey, Prentice Hall, 1963.
  • Editor, Perspective on the Novel, special issue of Daedalus (Boston), Spring 1963.
  • Co-Editor, The Personal Voice: A Contemporary Prose Reader. Philadelphia, Lippincott, 1964.
  • Editor, Stories of the Double. Philadelphia, Lippincott, 1967.
  • Editor, Mirror and Mirage. Stanford, California, Stanford AlumniAssociation, 1980.

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Famous quotes containing the word criticism:

    “The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
    —George Steiner (b. 1929)

    “The aim of all commentary on art now should be to make works of art—and, by analogy, our own experience—more, rather than less, real to us. The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.”
    —Susan Sontag (b. 1933)

    “Nothing would improve newspaper criticism so much as the knowledge that it was to be read by men too hardy to acquiesce in the authoritative statement of the reviewer.”
    —Richard Holt Hutton (1826–1897)