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Book Title: The Salzburg Tales|
The author of the book: Christina Stead
ISBN 13: No data
Format files: PDF
The size of the: 8.67 MB
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Reader ratings: 3.2
Edition: Appleton-Century, New York
Date of issue: 1934
ISBN: No data
Read full description of the books:
"When I say that Miss Christina Stead’s Salzburg Tales are far better than the Decameron, I intend nothing but disrespect to Boccaccio, the prince of bores…. Miss Stead impales literary butterflies on the needles of malicious paragraphs, weaves medieval legends that sound as if you had looked in upon them years ago through the dim pages of the Gesta Romana, relates funny stories about goldfish that predict the fluctuations of the stock market, and tricks venerable jokes out until they become tiny, twinkling masterpieces of gargoyle humor."
- Clifton Fadiman - from http://neglectedbooks.com/?page_id=58
Now, I would not go that far - not least because I love the Decameron - but also because the quality of the tales varied considerably, as did the enjoyment I got out of them.
Nevertheless, here we have another counter to the argument that "women don't produce these sort of books". Forty years before the PostModern types would do similar re-workings of such texts, Christina was doin it and doin it and doin it well.
Someone else also said:
No work of Christina Stead’s has divided commentary more than The Salzburg
Tales. Contemporary reviews were overwhelmingly positive, with the Times Literary
Supplement saluting it as evidence of a “story-teller of profuse imagination [. . .] [and] unusual interest” (Geering 45) and the New Yorker claiming that the stories were “far better than the Decameron” (Rowley 156). Later critics, however, have been less certain of its merit and of the place it holds in her unfolding oeuvre.
Although R. G. Geering maintained that Stead “never surpassed the sheer brilliance of this early volume” (45), Diana Brydon has adjudged its tales “accomplished but conventional,” arguing that stylistically they “represent[ed] a dead end” and demanded the suppression of her disturbing, hallmark attribute: “the original critical intelligence that springs from her own experience as a woman” (47)
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Read information about the authorChristina Stead (1902–1983) was an Australian writer regarded as one of the twentieth century’s master novelists. Stead spent most of her writing life in Europe and the United States, and her varied residences acted as the settings for a number of her novels. She is best known for The Man Who Loved Children (1940), which was praised by author Jonathan Franzen as a “crazy, gorgeous family novel” and “one of the great literary achievements of the twentieth century.” Stead died in her native Australia in 1983.
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