Äåòàëüíàÿ èíôîðìàöèÿ îá èçäàíèè

Àâòîð:

Çàãëàâèå:

The Picturegoers

Òèï íîñèòåëÿ:

Îäíîòîìíèê.

Ìåñòî èçäàíèÿ:

London

Èçäàòåëüñòâî:

Penguin Books

Ãîä èçäàíèÿ:

1993

Îáúåì:

XVI, 237, [1] p.

Àííîòàöèÿ:

THE PICTUREGOERS, originally published in 1960 and now reissued as part of a Penguin first novels promotion, nearly had David Lodge marked down as an angry young realist of the Sid Chaplin / Alan Sillitoe school. 'Love and brute desire. .. cynicism and faith' yelps the jacket of my 1962 Pan paperback, 'a compassionate, realistic and even shocking novel of urban Britain today'. The 1993 blurbwriter has settled for a more sober excursus on the 'realities of city life' and 'a flickering backcloth of celluloid fantasies', but in fact the urban backdrop is something of a decoy. While the novel’s wider structures take in a collection of people who turn up each Saturday night at the Brickley Palladium, a seedy cinema in the seedier part of south-east London, its chief quarry is that very rare animal, the question of religious belief, here dramatised in the persons of Mark Underwood, a cynical lapsed Catholic undergraduate, and Clare, the highly devout daughter of the Catholic family with whom he lodges, lately released from her novitiate and contemplating the confusions of the secular life

ISBN:

0-140-17421-4

ßçûê:

Àíãëèéñêèé

ÁÁÊ:

Ðàçìåðû èçäàíèÿ:

20 cì.

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