Bücher von George Monteiro

Ernest Hemingway revolutionized the American short story, establishing himself as a master of realist fiction in the tradition of Guy de Mauppasant. Yet none of Hemingway's emulators has succeeded in duplicating his understated, minimalist style. In his Iceberg Theory of fiction, only the tip of the story is seen on the surface--the rest is submerged out of sight. This study surveys the scope of Hemingway's mastery of the short story form, enabling a fuller understanding of such works as "Indian Camp," "Big Two-Hearted River," "The Killers," "The Mother of a Queen," "In Another Country," "Hills Like White Elephants," "The Snows of Kilimanjaro," and "The Mercenaries," among many others. All 13 stories from his underrated Winner Take Nothing collection are evaluated in detail.

There's No Word for SAUDADE contains twenty-one essays aimed at a readership interested in cultural and historical materials, including those relate to Portuguese America.

Caldo Verde Is Not Stone Soup identifies elements of an emerging Portuguese American culture in the United States.

Brings together almost all of the known interviews Elizabeth Bishop gave over a period of thirty years. Included also are a few selected pieces based on conversations with her. All together they allow her ardent and admiring readers a rewarding, close-up encounter with one of America's great writers.

Explores allusions, sources, echoes and affinities in Henry James' vast body of work as critical ways to discover and interpret his artistic purposes and literary intentions. It ranges over the vast corpus of his fiction, including stories, novellas and novels published in the leading journals of the day on both sides of the Atlantic.

"Wise old Vergil says in one of his Georgics, 'Praise large farms, stick to small ones,'" Robert Frost said. "Twenty acres are just about enough." Frost started out as a school teacher living the rural life of a would-be farmer, and later turned to farming full time when he bought a place of his own. After a sojourn in England where his first two books were published to critical acclaim, he returned to New England, acquired a new farm and became a rustic for much of the rest of his life. Frost claimed that all of his poetry was farm poetry. His deep admiration for Virgil's Georgics, or poems of rural life, inspired the creation of his own New England "georgics," his answer to the haughty 20th-century modernism that seemed certain to define the future of Western poetry. Like the "West-Running Brook" in his poem of the same name, Frost's poetry can be seen as an embodiment of contrariness.