Vol. 29 No. 3 1962 - page 453

lOOKS
453
ostler handled") have caused some commentators to compare the
style with Joyce. But this smacks only of the parts of
Ulysses
in which
Joyce is using a kind of pre-English in a self-conscious and half-comic
way. One can, for that matter, find resemblances to the
versets
of
Perse in
Anabasis:
"Her1 funnels and mastheads could be seen. Here
the influence of the sea and of the tackle and ways of its people fell
upon them." There are bouts of dialogue, interior monologue, and a
marvelous, long round of boasting, in the tradition of medieval epic
in
which one of the Welch Fusiliers wails out what is really more of a
lament for the submergence of his culture in England's than anything
cl~
.
In Parenthesis
is
the kind of book which can have no results, in
that its form and style are so outrageously personal that no other writer
could learn much from Jones' use of them. But it is indeed a re–
markable work in that it succeeds in uniting the intentions of the
Georgian war poets with the power of later prose narratives.
It
man–
ages to convey the essential violence of a whole category of experience,
but without Expressionist distortion and at the same time to place that
experience in a mythical perspective without slighting its actuality. It
may
be
the best book about World War I in English.
CHILMARK PRESS
Announces the publication of
IN
PARENTHESIS
by
DAVID JONES
~
T.
S.
Eliot,
in his introduction. describes it as
Ita work of genius."
~
W.H.Auden,
in
THE MID-CENTURY.
BaliB
it
is
Ita masterpiece."
~
CHILMAUK PRESS
DISTRIBUTED BY
Random H
OU'.
AND AVAILABLE IN ALL BOOKSTORES
John Hollander
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The Cubist Painters
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The Dialogues
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Written
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The Changing Concept of
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by Erwin Rosenthal
Self·expression in art around 1300
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TiT a'Mhurain
by Paul Strand
The author photographs his travels in the
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The Daybooks of Edward Weston
Vol. 1: Mexico: 1923·1926
Thoughts, hopes and experiences of
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Concretions
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A new and controversial literary form.
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