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Africa: La Herencia De Livingstone En a Burnt-Out Case, De Graham Greene Y El Sueño Del Celta, De Mario Vargas Llosa
ISSN: 0213-1854 'Civilizar' Africa: La herencia de Livingstone en A Burnt-Out Case, de Graham Greene y El sueño del celta, de Mario Vargas Llosa (‘Civilizing’ Africa: Livingstone’s Inheritance in A Burnt-Out Case, by Graham Greene and El sueño del celta, by Mario Vargas Llosa) BEATRIZ VALVERDE JIMÉNEZ [email protected] Universidad Loyola Andalucía Fecha de recepción: 8 de mayo de 2015 Fecha de aceptación: 1 de julio de 2015 Resumen: En este artículo usamos el concepto de „semiosfera‟ desarrollado por el estudioso ruso-estonio Juri Lotman para examinar las relaciones entre las comunidades nativas y las europeas en el Congo belga creadas por Graham Greene en A Burnt-Out Case y por Mario Vargas Llosa en El sueño del celta. Con este análisis tratamos de probar que aunque ambos autores denuncian con sus obras las terribles consecuencias de la colonización europea para los africanos, las comunidades nativas son descritas desde un punto de vista occidental y paternalista. Palabras clave: Congo. Colonización. Lotman. Semiosfera. Europeos. Africanos. Greene. Vargas Llosa. Abstract: In this article the concept of „semiosphere‟, developed by the Russian-Estonian scholar Juri Lotman, is used to examine the relationship between the African and the European communities in the Congo portrayed by Graham Greene in A Burnt-Out Case and by Mario Vargas Llosa in El sueño del celta. With this analysis I will prove that even though both authors denounce the terrible consequences of the European colonization had for the African people, the native communities in the novels are still depicted from a western paternalistic perspective. -
Graham Greene Exhibition Catalogue
The Cherry Record Collection of Josephine Reid’s Papers and Books Relating to Our thanks to the following donors who made the acquisition possible: Paul Almond (1949) GRAHAM GREENE Professor John Stephenson (1953) Professor John-Christopher Spender (1957) Roger Jefferies (1957) Paul Lewis (1958) Peter Buckman (1959) Matthew Nimetz (1960) Doug Rosenthal (1961) Alan James (1962) Stephen Crew (1964) Jim Rogers (1964) Emeritus Professor Paul Crittenden (1965) Alan Heeks (1966) Geoff Wright (1967) Neil Record (1972) Julie Record Richard Jones (1977) Mark Storey (1981) Danny Truell (1982) Alison Roberts (1984) Claire Foster-Gilbert (1984) Virginia Preston (1985) Richard Locke (1985) Jonathan Lewin (1992) Adam Dixon (1994) Sarah Longair (1998) Jo Valentine (2001) Jeff Kulkarni (2001) Sean McDaniel (2002) Alice McDaniel (2003) Blackwell Charitable Trust Friends of the National Libraries ISBN 978-1-78280-500-7 An exhibition held at BALLIOL COLLEGE HISTORIC COLLECTIONS CENTRE 9 781782 805007 > ST CROSS CHURCH, ST CROSS ROAD, OXFORD 25 & 26 April 2015 EXHIBITION AND CATALOGUE BY Naomi Tiley Librarian, Balliol College Anna Sander Archivist, Balliol College FOREWORD BY Sir Anthony Kenny Master of Balliol College 1978–1989 Seamus Perry COVER ILLUSTRATIONS: Fellow Librarian, Balliol College Studio portrait of Josephine Reid taken in the late 1940s or early Neil Record 1950s. Photographer unknown. Balliol 1972 Handwriting © Josephine Reid’s Estate Details from postcards from Graham Greene to Josephine Reid © Verdant SA. The organisers are indebted to -
The Third Man"
"THE THIRD MAN" by Graham Greene HIGH ANGLE - FULL SHOT - CITY OF VIENNA The title VIENNA SUPERIMPOSED FADES OUT - commentary commences. COMMENTATOR I never knew the old Vienna before the war, with its - MED. SHOT - STATUE OF A VIOLINIST There is snow on it. COMMENTATOR Strauss music, its glamour and easy charm... MED. SHOT - ROW OF STONE STATUES ornamenting the top of a building. In the b.g. the top of a stone archway. They are snow-sprinkled. COMMENTATOR Constantinople suited... MED. SHOT - SNOW-COVERED STATUE Trees in b.g. COMMENTATOR me better. I really got to know it in the... CLOSE SHOT - TWO MEN talking in the street. COMMENTATOR - classic period of the black... CLOSEUP - SUITCASE opens toward camera, revealing contents consisting of tins of food, shoes, etc. The hands of a man come in from f.g. to take something out. COMMENTATOR - market. We'd run anything... CLOSEUP - HANDS OF TWO PEOPLE standing side by side in the street. The person CL running hands through a pair of silk stockings. COMMENTATOR - if people wanted it enough. CLOSEUP - HANDS OF TWO PEOPLE A woman's hands CL wearing a wedding ring - a man's hands CR holding in RH two small cartons - hands them over to her in exchange for some notes which she hands him. COMMENTATOR - and had the money to pay. CLOSE SHOT - FIVE WRIST WATCHES on a man's wrist from which the coat sleeve is turned back. COMMENTATOR Of course a situation like that - LONG SHOT - CAPSIZED SHIP in shallow water with a drowned body floating on the water CR of it. -
Visual Theologies in Graham Greene's 'Dark and Magical Heart
Visual Theologies in Graham Greene’s ‘Dark and Magical Heart of Faith’ by Dorcas Wangui MA (Lancaster) BA (Lancaster) Submitted for the Degree of Doctor of Philosophy September 2017 Wangui 1 Abstract Visual Theologies in Graham Greene’s ‘Dark and Magical Heart of Faith’ This study explores the ways in which Catholic images, statues, and icons haunt the fictional, spiritual wasteland of Greene’s writing, nicknamed ‘Greeneland’. It is also prompted by a real space, discovered by Greene during his 1938 trip to Mexico, which was subsequently fictionalised in The Power and the Glory (1940), and which he described as ‘a short cut to the dark and magical heart of faith’. This is a space in which modern notions of disenchantment meets a primal need for magic – or the miraculous – and where the presentation of concepts like ‘salvation’ are defamiliarised as savage processes that test humanity. This brutal nature of faith is reflected in the pagan aesthetics of Greeneland which focus on the macabre and heretical images of Christianity and how for Greene, these images magically transform the darkness of doubt into desperate redemption. As an amateur spy, playwright and screen writer Greene’s visual imagination was a strength to his work and this study will focus on how the visuality of Greene’s faith remains in dialogue with debates concerning the ‘liquidation of religion’ in society, as presented by Graham Ward. The thesis places Greene’s work in dialogue with other Catholic novelists and filmmakers, particularly in relation to their own visual-religious aesthetics, such as Martin Scorsese and David Lodge. -
The Lawless Roads
The Lawless Roads The Lawless Roads. Graham Greene. 1409020517, 9781409020516. Random House, 2010. 2010. 240 pages In 1938 Graham Greene was commissioned to visit Mexico to discover the state of the country and its people in the aftermath of the brutal anti-clerical purges of President Calles. His journey took him through the tropical states of Chiapas and Tabasco, where all the churches had been destroyed or closed and the priests driven out or shot. The experiences were the inspiration for his acclaimed novel, The Power and the Glory. Pdf Download http://variationid.org/.InmBGHm.pdf The Power And The Glory. ISBN:9781409017431. 240 pages. During a vicious persecution of the clergy in Mexico, a worldly priest, the 'whisky priest', is on the run. With the police closing in, his routes of escape are being shut off. Oct 2, 2010. Fiction. Graham Greene Twenty-One Stories Travel journey Without Maps The Lawless Roads In Search of a Character Getting to Know the General Essays Collected Essays First published in Great Britain in 1969 by The Bodley Head Vintage Random House, 20 Vauxhall Bridge Road, London SW1V. The long and frequently quoted passage from Cardinal Newman which forms the motto to The Lawless Roads (the quarry for The Power and the Glory) makes the general point most clearly, ending: Greene gives the personal application on the third page of The Lawless Roads:. Abstract Assassination plots that have been devised against Catholic bishop Don Samuel Ruiz Garcia are discussed, and Ruiz Garcia is profiled. Ruiz Garcia has worked tirelessly in Mexico to promote human rights but has been asked by the Vatican to" retire" because. -
Cervantes and the Spanish Baroque Aesthetics in the Novels of Graham Greene
TESIS DOCTORAL Título Cervantes and the spanish baroque aesthetics in the novels of Graham Greene Autor/es Ismael Ibáñez Rosales Director/es Carlos Villar Flor Facultad Facultad de Letras y de la Educación Titulación Departamento Filologías Modernas Curso Académico Cervantes and the spanish baroque aesthetics in the novels of Graham Greene, tesis doctoral de Ismael Ibáñez Rosales, dirigida por Carlos Villar Flor (publicada por la Universidad de La Rioja), se difunde bajo una Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported. Permisos que vayan más allá de lo cubierto por esta licencia pueden solicitarse a los titulares del copyright. © El autor © Universidad de La Rioja, Servicio de Publicaciones, 2016 publicaciones.unirioja.es E-mail: [email protected] CERVANTES AND THE SPANISH BAROQUE AESTHETICS IN THE NOVELS OF GRAHAM GREENE By Ismael Ibáñez Rosales Supervised by Carlos Villar Flor Ph.D A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy At University of La Rioja, Spain. 2015 Ibáñez-Rosales 2 Ibáñez-Rosales CONTENTS Abbreviations ………………………………………………………………………….......5 INTRODUCTION ...…………………………………………………………...….7 METHODOLOGY AND STRUCTURE………………………………….……..12 STATE OF THE ART ..……….………………………………………………...31 PART I: SPAIN, CATHOLICISM AND THE ORIGIN OF THE MODERN (CATHOLIC) NOVEL………………………………………38 I.1 A CATHOLIC NOVEL?......................................................................39 I.2 ENGLISH CATHOLICISM………………………………………….58 I.3 THE ORIGIN OF THE MODERN -
The Destructors Graham Greene
The Destructors Graham Greene Online Information For the online version of BookRags' The Destructors Premium Study Guide, including complete copyright information, please visit: http://www.bookrags.com/studyguide-destructors/ Copyright Information ©2000-2007 BookRags, Inc. ALL RIGHTS RESERVED. The following sections of this BookRags Premium Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare & Contrast, What Do I Read Next?, For Further Study, and Sources. ©1998-2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". © 1994-2005, by Walton Beacham. The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". © 1994-2005, by Walton Beacham. All other sections in this Literature Study Guide are owned and copywritten by BookRags, Inc. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. -
Radio Wars and Revolution in the Caribbean, 1959
1 Alejandra Bronfman Radio Wars and Revolution in the Caribbean, 1959 Abstract For most places in the Caribbean, the term Cold War fails to describe the contentious, noisy, violent politics of the 1950s and ‘60s. In the rapidly changing political contexts of 1957–62, Haiti’s Francois Duvalier and Cuban Fidel Castro rose to power, while in the Dominican Republic Rafael Trujillo’s regime weakened and ended with his assassination in 1961. Actors across the ideological spectrum engaged in transnational ‘Radio Wars’ in their efforts to both undermine and prop up particular regimes. This article will explore those radio wars, understanding them not just as an enactment of the complex politics of the day, but also as the expression of a par- ticular kind of utopian imagining of radio’s potential for political mobilisation. It considers the politics of clandestine broadcasting across ideological, racial and national boundaries in the 1950s and ‘60s Caribbean. Expanding on and engaging a burgeoning literature on radio in Latin America and the Caribbean, attention to ‘Radio Wars’ adds fresh perspectives to histories of the Cold War, decolonisation, and the soundscapes of dictatorship and empire. More pre- cisely, it moves beyond a Soviet-US binary and considers the role of broadcasting and propa- ganda in the making of an inter-Caribbean war of frequencies. KEYWORDS: Broadcasting, Cold War, Cuba, Haiti, Caribbean In a recent article, Kate Lacey observes: ‘Despite notable exceptions, the volume and scope of the national broadcasting histories are freighted heavily towards the Global North.’1 Indeed, broad- casting in the Caribbean has not enjoyed the same depth and breadth of study as North American or European broadcasting. -
Graham Greene and Mexico ~ a Hint of an Explanation
Graham Greene And Mexico ~ A Hint Of An Explanation Graham Greene 1904 – 1991 In a short letter to the press, in which he referred to Mexico, Graham Greene substantially expressed his view of the world. “I must thank Mr. Richard West for his understanding notice ofThe Quiet American. No critic before, that I can remember, has thus pinpointed my abhorrence of the American liberal conscience whose results I have seen at work in Mexico, Vietnam, Haiti and Chile.” (Yours, etc., Letters to the Press. 1979) Mexico is a peripheral country with a difficult history, and undeniably the very long border that it shares with the most powerful nation on earth has largely determined its fate. After his trip to Mexico in 1938, Greene had very hard words to say about the latter country, but then he spoke with equal harshness about the “hell” he had left behind in his English birthplace, Berkhamsted. He “loathed” Mexico…” but there were times when it seemed as if there were worse places. Mexico “was idolatry and oppression, starvation and casual violence, but you lived under the shadow of religion – of God or the Devil.” However, the United States was worse: “It wasn’t evil, it wasn’t anything at all, it was just the drugstore and the Coca Cola, the hamburger, the sinless empty graceless chromium world.” (Lawless Roads) He also expressed abhorrence for what he saw on the German ship that took him back to Europe: “Spanish violence, German Stupidity, Anglo-Saxon absurdity…the whole world is exhibited in a kind of crazy montage.” (Ibidem) As war approached, he wrote: “Violence came nearer – Mexico is a state of mind.” In “the grit of the London afternoon”, he said, “I wondered why I had disliked Mexico so much.” Indeed, upon asking himself why Mexico had seemed so bad and London so good, he responded: “I couldn’t remember”. -
1 the Pearl of the Antilles: Haiti in Colonial Times (1492–1791) 2 the Slaves Who Defeated Napoléon: the Haitian Revolution (
Notes 1 The Pearl of the Antilles: Haiti in Colonial Times (1492–1791) 1. Christopher Columbus, The Four Voyages (New York: Penguin Books, 1969; translated by K. M. Cohen), 116. 2. Quoted in Robert D., Nancy G., and Michael Heinl, Written in Blood: The Story of the Haitian People, 1492–1995 (New York: U. Press of America, 1996), 4. 3. Quoted in Eric Williams, From Columbus to Castro: The History of the Caribbean (1970; reprint, New York: Vintage Books, 1984), 34. 4. Quoted in Heinl et al., Written in Blood, 18. 5. Aristide and Christophe Wargny, Jean-Bertrand Aristide: An Autobiography (New York: Orbis Books, 1993), 143. From 1500 to 1650, Spanish imports of gold and silver from the entire New World (including Mexico and Peru) were 80 tons and 16,000 tons, respectively. See Henry Kamen, Empire: How Spain Became a World Power, 1492–1763 (2002; reprint, New York: HarperCollins, 2004), 287. 2 The Slaves Who Defeated Napoléon: The Haitian Revolution (1791–1804) 1. Quoted in Laurent Dubois, Avengers of the New World: The Story of the Haitian Revolution (Cambridge, MA: Harvard University Press, 2004), 100. 2. Antoine Métral, Histoire de l’expédition des Français à Saint-Domingue sous le consulat de Napoléon Bonaparte (1802–1803), suivie des mémoires et notes d’Isaac l’Ouverture (1825; reprint, Paris: Karthala, 1985), 325. 3. Quoted in Wenda Parkinson, “This Gilded African”: Toussaint l’Ouverture (New York: Quartet Books, 1978), 155. 4. “Louverture to Brig. Gen. Domage” (20 Pluviôse Year X [February 9, 1802]), CC9B/19, Archives Nationales, Paris. 218 ● Notes 3 Missed Opportunities: Haiti after Independence (1804–1915) 1. -
405 Bernard Diederich Former Latin America Correspondent Bernard
book reviews 405 Bernard Diederich Seeds of Fiction: Graham Greene’s Adventures in Haiti and Central America, 1954–1983. London: Peter Owen, 2012. 315 pp. (Cloth us$29.95) Former Latin America correspondent Bernard Diederich’s account of his rela- tionship with Graham Greene and their journeys to Haiti and Central America from the 1950s to the 1980s is a most valuable memoir and resource for those interested in the peripatetic author and the troubled Cold War politics of the region. The renowned twentieth-century British writer gives the now retired journalist the perfect entrée to his specialist subject of Latin America in a book that is neatly divided into two equal parts, firstly dealing with Greene in Haiti and later in Central America. Diederich, a New Zealander by birth, details his first brief encounters with Greene from 1954 onward in Haiti, where the correspondent had set up an English-language weekly newspaper and lived with his Haitian wife. Like many writers and artists, Greene was attracted by the exotic black Caribbean repub- lic, independent since 1804. But Haiti’s relative peace was ruined from 1957 by the autocratic rule of country physician François “Papa Doc” Duvalier, who soon ruled the ex-French colony as a repressive dictator, many of his subjects mesmerized by his cultivation of Voodoo. The early part of Diederich’s book gives an overview of Haitian history and is interspersed with travelogue. His newspaper’s anti-Duvalierist stance courts the wrath of the country’s self-appointed president-for-life and his Tontons Macoutes, a murderous plain-clothes militia. -
Graham Greene
GRAHAM GREENE Like many writers, Greene resisted the appellation of Catholic novelist, since he did not want readers to be seeking catechetical exactitude in his stories. In what is arguably his first Catholic novel, The Power and the Glory, Graham Greene contrasts a weak, alcoholic fugitive priest with his austere pursuer. There are others contrasts in the book as well between the hunted man who cannot escape the demands of his ministry and his soft, comfortable self before the revolution; between the second nocturne tale of martyrdom read by pious children and the real life flawed candidate for the firing squad with whiskey on his breath but the basic contrast is between the political and the religious. All efforts to see the significance of human life in thisworld terms are inadequate to the way it really is. Other Catholic novels are The Heart of the Matter, The End of the Affair and A BurntOut Case. The series comes to an end in 1973 with The Honorary Consul. Greene still had years to live and many books to write, but his imagination had switched from a religious into a political gear. The Heart of the Matter takes its motto from Charles Peguy. "At the very heart of Christianity is the sinner. No one is more competent on the matter of Christianity than the sinner unless it be the saint." Major Scobie damns himself out of pity for a waiflike war widow in colonial Africa. Greene is at his best presenting Catholicism through the medium of © Ralph McInerny, 2005.