Even after Orwell explicitly diverged from some of Chesterton’s views in the 1930s, under the influence of socialist ideas and hopes, Chesterton’s assumptions and political and ethical conceptions continued to shape him. Continue Reading »
In a new book, Jeremy Black challenges patronizing conceptions of Agatha Christie as a “cozy” writer, drawing out the Anglican sensibility that undergirds her work. Continue Reading »
Mark Bauerlein’s account of the English department’s decline in “Truth, Reading, Decadence” (June/July) makes for good reading. It is true to my experience in the field of literary study and helps give the tragedy our discipline has undergone intelligible structure. For those unfamiliar with . . . . Continue Reading »
Robert DiYanni joins the podcast to discuss his new book, You Are What You Read: A Practical Guide To Reading Well. Continue Reading »
Like a scholastic, Dr. Johnson divides lovers of rustic solitude into subspecies. Continue Reading »
Humanities professors have forgotten the first principle of undergraduate study in the humanities: inspiration. Continue Reading »
With diverse theoretical agendas replacing the arts of truth-seeking in universities, it’s no surprise that the numbers of humanities students are dwindling. Continue Reading »
Ronald Knox:A Man for All Seasons edited by francesca bugliani knox pontifical institute of medieval studies, 416 pages, $65 The greatest writer of English prose in the last century, P. G. Wodehouse excepted, was not Lytton Strachey or Logan Pearsall Smith or the E. M. Forster of Pharos and . . . . Continue Reading »
Reynard the Fox: A New Translationtranslated by james simpsonliveright, 256 pages, $24.95 A few weeks ago I found in my mailbox a brand-new, plastic-sealed, hardcover copy of Shakespeare’s complete works, sporting on its cover a close-up hellfire picture of a jester’s cap and bells, which looked . . . . Continue Reading »
In 1613, at the end of his career, Shakespeare joined John Fletcher to dramatize the reign of Henry VIII—the king who broke with Rome and started the Protestant revolution in England. The play ends with Thomas Cranmer’s rhapsodic paean to the once and future queen, Elizabeth, who would . . . . Continue Reading »
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