Recovering Lost Authority in American Novels
In the 1970s Parker pioneered the study of lost authority in standard American novels by Mark Twain, F. Scott Fitzgerald, William Faulkner, Norman Mailer and others. His work on Stephen Crane repeatedly evoked threats of lawsuits from Fredson Bowers for exposing sloppiness in both theory and practice in the Virginia Edition. Parker’s 1984 Flawed Texts and Verbal Icons: Literary Authority in American Fiction was the first book systematically to bring biographical evidence to bear on textual theory, literary criticism, and literary theory. Frequently attacked by reviewers trained in the New Criticism as well as by proponents of the New Bibliography of W. W. Greg and Fredson Bowers, Flawed Texts and Verbal Icons has nevertheless become a classic and has since the late 1980s been applied to their problems by biblical, classical, and medieval scholars as well as by critics of more modern literature. See for example Sally Bushell, Text as Process, John Van Engen, Past and Future of Medieval Studies, Alison M. Jack, Texts Reading Texts Sacred and Secular 2, Robert S. Kawashima, “Comparative Literature and Biblical Studies: The Case of Allusion,” Tim William Machan, Textual Criticism and Middle English Texts, Michael J. Meyer, Literature and Music, James J. O’Hara, “Trying Not to Cheat: Responses to Inconsistencies in Roman Epic,” and Peter L. Shillingsburg, Scholarly Editing in the Computer Age.
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Though foolishly he lost the same,
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—George Herbert (15931633)
“Does it follow that I reject all authority? Perish the thought. In the matter of boots, I defer to the authority of the bootmaker.”
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“The quality of American life is an insult to the possibilities of human growth ... the pollution of American space, with gadgetry and cars and TV and box architecture, brutalizes the senses, making gray neurotics of most of us, and perverse spiritual athletes and strident self-transcenders of the best of us.”
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“The present era grabs everything that was ever written in order to transform it into films, TV programmes, or cartoons. What is essential in a novel is precisely what can only be expressed in a novel, and so every adaptation contains nothing but the non-essential. If a person is still crazy enough to write novels nowadays and wants to protect them, he has to write them in such a way that they cannot be adapted, in other words, in such a way that they cannot be retold.”
—Milan Kundera (b. 1929)