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Gender and Reading: Essays on Readers, Texts, and Contexts ed. by Elizabeth A. Flynn and Patrocinio P. Schweikart (review)

Gender and Reading: Essays on Readers, Texts, and Contexts ed. by Elizabeth A. Flynn and... Book Reviews251 Buttarelli's tavern: "the neurotic who acts out his infantile dramas is no less repugnant bodily acts as part of the critical act: "the house of fiction could use an outhouse of criticism" (162). a performer than Juan and Luis" (150). The conclusion makes a plea for Pérez Firmat's study gloats in its own liminality, in its sense of difference from mainstream -- and not-so-mainstream -- criticism. The reader must scrape away the magma, as it were, of discursive preciosity to reach the conceptual core. The process is, appropriately perhaps, somewhat draining. Two additional examples: "Writing is blending and mending. Writing is mixing and fixing. Writing is smashing and patching: an ounce of this, a pinch of that; a stitch principle of concavity, generated the esperpento's tangled, intricate design" here, a loop there. The carnival principle of motley, rather than the geometrical (48-49). "Literature and Liminality is an exercise in adolescent criticism. I have and though I know that pimples -- like roses -- fade, and that masturbation finally loses out to copulation, my effort has been to treat this festive, festering phase as if it held a permanent condition, as if acne were forever" (56). Oh, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Rocky Mountain Review of Language and Literature Rocky Mountain Modern Language Association

Gender and Reading: Essays on Readers, Texts, and Contexts ed. by Elizabeth A. Flynn and Patrocinio P. Schweikart (review)

Rocky Mountain Review of Language and Literature , Volume 41 (4) – Jan 6, 1987

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Publisher
Rocky Mountain Modern Language Association
Copyright
Copyright © Rocky Mountain Modern Language Association
ISSN
1948-2833
Publisher site
See Article on Publisher Site

Abstract

Book Reviews251 Buttarelli's tavern: "the neurotic who acts out his infantile dramas is no less repugnant bodily acts as part of the critical act: "the house of fiction could use an outhouse of criticism" (162). a performer than Juan and Luis" (150). The conclusion makes a plea for Pérez Firmat's study gloats in its own liminality, in its sense of difference from mainstream -- and not-so-mainstream -- criticism. The reader must scrape away the magma, as it were, of discursive preciosity to reach the conceptual core. The process is, appropriately perhaps, somewhat draining. Two additional examples: "Writing is blending and mending. Writing is mixing and fixing. Writing is smashing and patching: an ounce of this, a pinch of that; a stitch principle of concavity, generated the esperpento's tangled, intricate design" here, a loop there. The carnival principle of motley, rather than the geometrical (48-49). "Literature and Liminality is an exercise in adolescent criticism. I have and though I know that pimples -- like roses -- fade, and that masturbation finally loses out to copulation, my effort has been to treat this festive, festering phase as if it held a permanent condition, as if acne were forever" (56). Oh,

Journal

Rocky Mountain Review of Language and LiteratureRocky Mountain Modern Language Association

Published: Jan 6, 1987

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