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The originals : who's really who in fiction /
Have you ever wondered who in real life was Richard Adam's inspiration for Bigwig in Watership Down, who was the model for Captain Cat in Dylan Thomas's 'Under Milk Wood', who gave rise to E.M. Forster's Dr Aziz or le Carre's George Smiley, to Graham Greene's Koll...
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| 第一著者: | |
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| フォーマット: | 図書 |
| 言語: | 英語 |
| 出版事項: |
London :
Jonathan Cape,
1985.
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| 001 | ml2025047547 | ||
| 003 | PUMLC | ||
| 005 | 20250123100937.0 | ||
| 008 | 130787s1985 enkcf b 00110deng | ||
| 020 | |a 0224023195 : |c 12.95 |q (hardback) | ||
| 035 | |a 00664367 (PWmBRO) | ||
| 040 | |b eng |d PUMLC |6 PUMLC |a PUMLC |c PUMLC | ||
| 050 | 0 | |a PN56.4 |b .A4 1985b | |
| 082 | 0 | |a 809.927 | |
| 100 | 1 | 0 | |a Amos, William. |9 833 |
| 245 | 1 | 4 | |a The originals : |b who's really who in fiction / |c William Amos. |
| 260 | 0 | |a London : |b Jonathan Cape, |c 1985. | |
| 300 | |a xx, 614 pages, [24] pages of plates : |b portraits ; |c 23 cm. | ||
| 520 | |a Have you ever wondered who in real life was Richard Adam's inspiration for Bigwig in Watership Down, who was the model for Captain Cat in Dylan Thomas's 'Under Milk Wood', who gave rise to E.M. Forster's Dr Aziz or le Carre's George Smiley, to Graham Greene's Kolly Kibber or Richmal Crompton's in corrigible schoolboy William Brown? If fact is, by common consent, stranger than fiction, it is small wonder that novelists, playwrights and poets have so assiduously studied the foibles and behaviour of their friends and acquaintances while earnestly (in most instances) disclaiming any such plunder. Tolstoy's use of models was obvious to his family, yet he noted how sorry he would be should anyone think he intended to depict any real person. In denying his use of Leigh Hunt as 'Harold Skimpole' in 'Bleak House' Dickens added deviousness to duplicity, privately revealing in his portrait's accuracy, publicly disavowing all resemblance and averting his victim's wrath by publishing favourable profiles of him elsewhere. Maugham denied basing a character on Hugh Walpole, only to admit the identification once his model was dead. Adroitly, Meredith deflected the protest of another agonised original. 'This is too bad of you,' a young friend cried, 'Willoughby is me!' 'No, my dear fellow, he is all of us.' William Amos has spend more than ten years picking his way carefully through the smokescreen of authors' denials ( no doubt) raised in the first place by their fear of litigation for libel) to make this highly entertaining collection of nearly 3,000 identifiable 'originals'. By the nature of the exercise, it is quite impossible to claim that any study of the roman a clef is complete, even up to the time of writing. Some of the best anecdotes Amos encountered i his searched have posed him with the threat of the long arm of the law. But, libel apart, he claims, 'no one should be surprised by disavowals of authors, for fiction, after all, is licensed lie-telling.' As a little boy, Isaac Bashevis Singer once remarked, 'I was called a liar but now that I have grown up they call me a writer '. Some writers deal with the problem by claiming, as did Ivy Compton Burnett, that acquaintances are too flat for their novels' purposes, and have to be exaggerated. Not all models take offence at being rendered larger than life. Alexander Woollcott declared: ' The thing's a terrible insult and I've decided to swallow it.' His armour plated ego was so tickled by his representation as the impossible 'Sheridan Whiteside' in 'The Man Who Came to Dinner' the he toured with the play in the part he inspired. From interviews and correspondence with authors and their quarry, from the crevices in published biography and autobiography, and from following up innumerable obscure leads in the Press, the British Library and elsewhere, William Amos has compiled a tentalising and at times hilariously funny compendium of revelations - enchanting as bedtime reading, but an essential work of reference for literary buffs. Here you can discover who claimed, 'I was never a lawnmower in knickers', who poured hot chocolate through her husband's letter-box and which philanderer reassured his wife by declaring, 'I don't deceive you, my dear, I supplement you.' -- Book Jacket | ||
| 650 | 0 | |a Characters and characteristics in literature. |9 834 | |
| 650 | 0 | |a Biography. |9 835 | |
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