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Matters of Fact and of Fiction (Essays 1973-1976)

door Gore Vidal

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A collection of seventeen essays written between 1973 and 1976, dealing with fiction, politics, and the world in general.
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Toon 2 van 2
Two parts: essays on non-fiction, like "4 Generations of Adams," which praised John Adams and progeny; and fiction, including essays on Tennessee Williams and the writers like Pynchon, Barth, Barthes, and Barthelme who influenced David Foster Wallace (I have to believe DFW read this essay in particular; he rated "the essays of Gore Vidal" very highly in some interview, which is why I picked up this book in the first place).

Also some good essays on the corrupt NYC Transit Authority leader, Robert Moses, and on the ITT et al. mega-corporations. He also trashes Truman Capote, West Point, English professors, Andrew Jackson, and Ulysses S. Grant and wife.

He's incredibly cynical about just about everything, with the essays on the Adamses and Tennessee Williams I think the only truly positive pieces in the whole book. So, beware. ( )
  br77rino | Apr 10, 2013 |
I guess that we will appreciate this brilliant mind when he is no longer with us. His complete essays are worth 6 years of university. And what writing! Vidal doesn't get the credit he deserves for his scintillating prose style. I've never ever read one of his essays without being fully alert. I can only say this about the essays of: Robertson Davies, John Updike, Anthony Burgess, and some few others. They are the best reviewers and essayists of the last 50 years. ( )
2 stem Porius | Dec 15, 2008 |
Toon 2 van 2
One can agree or disagree with his views on this or that American novelist very profitably, for he is a professional, but he is on richer ground when he is writing about the supreme American fiction: political history and the political families. Here he has festive powers of candor and detection, in his studies of the ruling class and the rich, and done from the insider's alcove. He loves family history—especially its dubieties. His "West Point" with its theme of America as a garrison is caustic, and he has some vanity in going romantically into action with one socialite arm tied behind his back. His accounts of the continuing story of E. Howard Hunt, the Bay of Pigs, and Watergate, and on what Robert Moses did for and to New York City leave a foreigner like myself wondering why anyone should worry about the fate of the novel when politicians can, every time, outpace the art novel in fantasy or the best seller in its deep faith in the spurious emotion.
toegevoegd door SnootyBaronet | bewerkNew York Review of Books, V.S. Pritchett
 
As a Matter of Fact, Gore Vidal is a Beautiful Person who chooses his drawing-rooms with care. He hobnobs with the rich and powerful. He hobnobs also with the talented, but they tend to be those among the talented who hobnob with the rich and powerful. He likes the rich and powerful as a class. He hates some of them as individuals and attacks them with an invective made all the more lacerating by inside knowledge. For that we can be grateful. But we can also wish that his honesty about his own interior workings might extend to his thirst for glamour. Speaking about Hollywood, he is an outsider who delights to pose as an insider, Speaking about the ruling class, he is an insider who delights to pose as an outsider. In reality he is just as active a social butterfly as his arch-enemy Truman Capote. But in Vidal’s case the sin is venial, not mortal, since his writings remain comparatively unruffled by the social whirl, whereas Capote has become a sort of court dwarf, peddling a brand of thinly fictionalized tittle-tattle which is really sycophancy in disguise. Vidal reserves that sort of thing for after hours.
toegevoegd door SnootyBaronet | bewerkNew Statesman, Clive James
 

» Andere auteurs toevoegen (2 mogelijk)

AuteursnaamRolType auteurWerk?Status
Gore Vidalprimaire auteuralle editiesberekend
Jahn, HeloisaVertalerSecundaire auteursommige editiesbevestigd
Mainardi, DiogoVertalerSecundaire auteursommige editiesbevestigd
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