A Time of Gifts
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Bratislava As a Cultural Borderland in the Danubian Narratives of Patrick Leigh Fermor and Claudio Magris
World Literature Studies 4 . vol. 12 . 2020 (3 – 19) ŠTÚDIE / ARTIclEs Bratislava as a cultural borderland in the Danubian narratives of Patrick leigh Fermor and claudio Magris chARlEs Sabatos Although the twentieth-century history of Central Europe is one of constantly chang- ing borders, the “Iron Curtain” between the capitalist West and the communist East seemed immutably fixed by the Orwellian spring of 1984, when Milan Kundera ques- tioned the Cold War political order in his essay “A Kidnapped West” (also known as “The Tragedy of Central Europe”). Kundera’s metaphor of Central Europe as a region “kidnapped” by Soviet imperialism was influential in reasserting the West- ern cultural heritage of the region, provoking an international debate over Europe’s cultural boundaries (Sabatos 2011, 20–21). Yet in his first novel, Žert (1967; The Joke, 1969), Kundera suggests that his native Moravia is naturally linked to the East, since its rivers (unlike those of neighboring Bohemia like the Elbe, which go north into Germany) flow into the Danube. Foreshadowing his later preoccupation with the unrepeatability of history, Kundera links the passing of time to the flow of a river carrying away a garland of flowers in a Moravian folk tradition: I could just see the flowers floating and the brook passing them onto the stream, the stream to the tributary, the tributary to the Danube, and the Danube to the sea. I saw the garland go, never to return. No return. That was what brought it home to me. The basic situations in life brook no return. Any man worth his salt must come to grips with the fact of no return. -
Parallaxes As Means of Organizing Memory in Travel Narratives of Patrick Leigh Fermor and Ryszard Kapuściński
ARTICLES Grzegorz Moroz 10.15290/cr.2016.13.2.04 University of Białystok Parallaxes as Means of Organizing Memory in Travel Narratives of Patrick Leigh Fermor and Ryszard Kapuściński Abstract. This paper offers a comparative analysis of travel narratives of two key contemporary writers: Patrick Leigh Fermor and Ryszard Kapuściński. Fermor’s A Time of Gifts: On Foot to Constantinople; From the Hook of Holland to the Middle Danube (1977), Between the Woods and the Water (1986), and The Broken Road (2015) are compared with Kapuściński’s: Imperium (1993), The Shadow of the Sun (1998), and Travels with Herodotus (2007). The figure of a ‘parallax’ is suggested as being crucial in capturing the key similarities between Fermor’s and Kapuściński’s travel narratives. The differences between these narratives are explained in terms of the differences in developments of Anglophone and Polish travel writing traditions. Keywords: travel writing, genre, parallax, Ryszard Kapuściński, Patrick Leigh Fermor. Travel writing (podróżopisarstwo in Polish) is often regarded as a supra-generic category com- bining all types of texts fictional and non-fictional, narrative and non-narrative, versed and non- versed, of which the main theme is travel (See, for example, Borm 2004: 13-17, Witosz 2007: 11-28). At the centre of the travel writing tradition, both in Anglophone literatures and Polish literature, there exists a referential genre predominantly narrated in the first person and predominantly non- fictional which is known as the travel book (or travelogue) -
Matthew Staite Leigh Fermor Thesis
“A dangerous mix of recklessness and sophistication”: Themes of identity and nostalgic ideas of Europe in the travel writings of Patrick Leigh Fermor By Matthew Staite A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS OF THE DEGREE OF MASTER OF ARTS In European Studies: Identity & Integration Universiteit van Amsterdam Graduate School of Humanities Supervisor: Alex Drace-Francis Secondary Reader: Joep Leerssen July 2018 1 Abstract: This thesis provides an academic study of Patrick Leigh Fermor’s travel accounts of his journey across Europe in the 1930s. Through a close analysis of these texts, it will attempt to see what these travel accounts can contribute towards ongoing debates about diversity and identity in Europe. It allows for both literary and historical approaches of study, and will refer to several travel writing theories and historiographical debates about the idea of Europe. Despite Patrick Leigh Fermor being a popular British post-war author, his works have received little scholarly attention; this thesis seeks to alert scholars to the rich potential for research that these texts provide. It will argue that both the author’s techniques of self-presentation and his conception of the history of Europe create nostalgic images of a ‘lost Europe’. While his conception of Europe doesn’t necessarily ‘Orientalise’ eastern Europe, his images of a lost Europe are heightened there. Words: 22,987 2 Preface I would like to thank my parents for supporting my decision to do this Master degree. Without their backing and support it would not have been possible. Thanks also to Alex Drace-Francis for being so helpful in supervising this thesis, and to Grzegorz Moroz for sharing his research with me. -
Also by Patrick Leigh Fermor the Traveller's Tree the Violins of Saint
Also by Patrick Leigh Fermor The Traveller’s Tree The Violins of Saint-Jacques A Time to Keep Silence Mani Roumeli A Time of Gifts Three Letters from the Andes Words of Mercury, edited by Artemis Cooper In Tearing Haste: Letters Between Deborah Devonshire and Patrick Leigh Fermor, edited by Charlotte Mosley The Broken Road, edited by Colin Thubron and Artemis Cooper Translated and edited The Cretan Runner by George Psychoundakis 988EE_tx.indd 2 13/06/2013 15:58 Between the Woods and the Water On Foot to Constantinople: The Middle Danube to the Iron Gates PATRICK LEIGH FERMOR JOHN MURRAY 988EE_tx.indd 3 13/06/2013 15:58 First published in Great Britain in 1986 by John Murray (Publishers) An Hachette UK Company This paperback edition first published in 2004 Reissued in 2013 1 © The Estate of Patrick Leigh Fermor 1986 Introduction © Jan Morris 2005 The moral right of the Author of the Work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. Map drawn by Rodney Paull Stork drawing by John Craxton All rights reserved. Apart from any use pemitted under UK copyright law no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means without the prior written permission of the publisher, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser. A CIP catalogue record for this title is available from the British Library isbn 978-0-7195-6696-7 Ebook isbn 978-1-84854-524-3 Set in Adobe Garamond 11/14 pt Typeset by Palimpsest Book Production Limited, Falkirk, Stirlingshire Printed and bound by Clays Ltd, St Ives plc John Murray policy is to use papers that are natural, renewable and recyclable products and made from wood grown in sustainable forests. -
Salmagundi-Magazine2.Pdf
PHOTOGRAPH COURT = ™ SALMAGUNDI MAGAZINE A Quarterly PATRICK LEIGH FERMOR [ AN ONLINE FEATURE \ EXCERPTS FROM THREE LONG ESSAYS JOANNA KAVENNA ON MEMORY AND THE PAST IN A TIME OF GIFTS GEORGE PROCHNIK ON BYZANTIUM AND STYLE IN MANI BINA GOGINENI ON EXOTICISM IN THE TRAVELLER’S TREE PLUS THESE EXCLUSIVE ONLINE CONTRIBUTIONS NICK DELBANCO AN HOMAGE SUZANNE JOINSON MEMOIR: THE LONG WAY ROUND TO CONStaNTINOPLE NICK HUNT FOLLOWING FERMOR IN ROMANIA THE SPECIAL FEATURE IN SALMAGUNDI #182-183 INCLUDES “NADEJDA” BY PATRICK LEIGH FERMOR A MICRO-ANTHOLOGY AND THREE FULL ESSAYS ON HIS WORK. THE ISSUE IS AVAILABLE FOR ORDER HERE. SELECTED AND GLOSSED BY MICHAEL ONDaatJE THOMAS DE WAAL MICHAEL GORRA ANDREW EAMES PHOTOGRAPHS OF KÖVECSES ANDREW HILLARD CONTRIBUTORS ™ = “On a Borrowed Horse” — Michael Ondaatje It is not just in his own books that Patrick Leigh Fermor has that delicious off-hand gift of description of the world he travels through. Reading his introduction to Miklos Banffy’s trilogy, The Writing on the Wall, a great work whose recent popularity is partly the result of Fermor’s championing of it, you see him again draw you into a rare and new place, even if it is someone else’s story: I first drifted into the geographical background of this remarkable book in the spring and summer of 1934, when I was nineteen, halfway through an enormous trudge from Holland to Turkey. Like many travellers, I fell in love with Budapest and the Hungarians, and by the time I got to the old principality of Transylvania, mostly on a borrowed horse, I was even deeper in….