By John Cowper Powys
"A Glastonbury Romance, first released in 1932, is Powys masterwork, an epic novel of wonderful cumulative strength and lyrical depth. In it he probes the paranormal and religious ethos of the small English village of Glastonbury, and the impression upon its population of a legendary culture from the remotest previous of human background - the legend of the Grail. Powys's wealthy iconography interweaves the traditional with the trendy, the historic with the mythical, and the imaginitive inside guy with the flora and fauna outdoors him to create a ebook of wonderful scope and beauty."
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"A Glastonbury Romance, first released in 1932, is Powys masterwork, an epic novel of impressive cumulative strength and lyrical depth. In it he probes the paranormal and religious ethos of the small English village of Glastonbury, and the impact upon its population of a legendary culture from the remotest previous of human heritage - the legend of the Grail.
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Extra info for A Glastonbury Romance
In short, all art is simultaneously musical and image-based, because it separates its audience from proper perception of the object. This objection to art ought to be examined more closely, however. The reality that art threatens to displace is still conceived in Heideggerian terms by Levinas: “What is today called being-inthe-world is an existence with concepts” (134). Rejecting concepts, art is the domain of the empty, concept-less image, which thus does not coincide with the truth of the world.
Littéraire [ . . ”34 In their preface to the first volume of his oeuvres, Rodolphe Calin and Catherine Chalier suggest that Levinas envisioned a career not 36 ● Late Modernist Style in Beckett and Levinas unlike that of Jean-Paul Sartre, whereby he would be both novelist and philosopher. Maintaining the distinct identity of these activities, Levinas did not, therefore, renounce the second and third elements, but wrote two novels of his own, La Dame de chez Wepler and Eros. Moreover, his ambition to become a novelist was not a youthful folly, but held until the beginning of the 1960s, around the publication of Totality and Infinity.
If there is such a thing, “literary” Levinas is not primarily a commentator or theorist but a practitioner of literary writing. Thus he stands not as a conceptual toolbox for criticism’s notorious jack-of-all-trades workmen, but as a body of work—of writing— in its own right. It is in this sense, then, that I intend to resettle him as a poetic or literary philosopher, one who, while often professing disdain for the value of the literary, adopts a compelling style and an array of rhetorical and conceptual techniques in order to write his most peculiar of philosophies.