By J. P. Donleavy
A Fairy story of recent York is a humorous, lusty, and unhappy novel of comedian genius.
Returning from examine overseas, Cornelius Christian enters customs along with his baggage and his useless spouse. His first come upon in big apple is with a funeral director, with whom he reluctantly takes employment to pay for the burial bills. during his tasks he meets the attractive Fanny Sourpuss over her millionaire husband's useless physique. although, his over-enthusiastic dealing with of his first corpse lands him in court.
Cornelius Christian wanders throughout the nice unhappy cathedral that's big apple, studying the human situation in all its comedian pathos and lonely absurdity. no matter if lingering within the Automat consuming from part empty espresso cups and stealing baked beans from the plates of shoppers who go searching for ketchup, or discovering love on a road nook in basic terms to finish up struggling with his means out of a hooker's fists, Cornelius Christian, heroic anti-hero, sings of life's goodness within the wake of catastrophe.
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Extra info for A Fairy-Tale of New York
In these cases, the epic allusions are at the service of the characterization: these are people – particularly the poet Eumolpus – with literary pretensions. At other times, the reference seems to be the property of Encolpius the narrator, an element of what Conte has termed his “mythomania,” his obsessive assimilation of his tawdry adventure to elevated literary genres. For instance, the explicit comparison of Lichas’s recognition of Encolpius to its Odyssean analogue (quoted above) is placed in the mouth of the commenting narrator.
10 – Aen. 893–8). As this intertextual dimension belatedly becomes clear, the reader is compelled to reassess what has just been read. Trimalchio’s house is retrospectively revealed as the realm of the dead; its inhabitants are insubstantial wraiths, spiritually, if not physically, lifeless. Aeneas in Virgil’s Underworld was granted a vision of what Rome would become (Aen. 752–892); Encolpius in Petronius’s metatextual version is granted a vision of what Rome has become (except that he is incapable of recognizing it for what it is: see further Hope, at home with the dead, p.
Awareness of the differences can do much to bridge the gap, even as some things remain tantalizingly beyond our grasp. Reading the Satyrica 17 Reading Fragments and Fragmented Readings The fragmentary nature of the Satyrica poses an ongoing challenge for readers. The text that we read today reflects an active struggle, particularly by scholars in the fifteenth to seventeenth centuries, to put together as complete and readable a narrative as possible, as they rediscovered two groups of manuscripts preserving different parts of the text (Reeve 1983).