By Sterling Professor of the Humanities Harold Bloom
- provides very important and scholarly feedback on significant works from The Odyssey via glossy literature - The severe essays mirror a number of faculties of feedback - comprises notes at the contributing critics, a chronology of the author's lifestyles, and an index - Introductory essay via Harold Bloom
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Extra resources for Carson McCullers' The Ballad Of The Sad Cafe (Bloom's Modern Critical Interpretations)
The giantlike Amelia, foolishly but lovingly nicknamed “Little” by her father, is, as an adult, afraid to assume her full sexual identity and remains his little child. Lymon, the hunchbacked dwarf, openly weeps for himself, longs for a male lover, and ﬁnds pleasure in inciting trouble among other individuals, but he also has a shrewd sense of the realities that encompass him. Of all the characters, Lymon’s behavior is the least predictable; his motivation, the most paradoxical and ironic. He is both more and less than a man, neither adult nor child, neither sparrow and hawk nor quite human.
Betty Roszak and Theodore Roszak (New York: Harper and Row, 1969), p. 101. MARGARET B. MCDOWELL The Ballad of the Sad Café (1943) I n The Ballad of the Sad Café McCullers achieved an intricate blending of the real and the mythic, of the comic and the desolate, and of the provincial and the universal. She attained in this short novel an extraordinary compression, control, objectivity, and sense of proportion. The narrative voice speaks at times in archaic diction and at times in a tone of leisured elegance; at still other times, in a pithy colloquial idiom.
For example, the snowfall which bewilders Amelia, as well as the townsfolk, freezes her spirit into silence so that her speech sounds muffled—her aborted speech reﬂects her benumbed inner being. The snowfall is surely an omen, but one she cannot interpret to her satisfaction. Most dramatic in its resemblance to folk legends which glorify the heroic is the climactic ﬁght between Amelia and Macy, which achieves dimensions far beyond the natural and the ordinary. Bird imagery presages this struggle: “A hawk with a bloody breast ﬂew over the town and circled twice around the property of Miss Amelia” (28).
Carson McCullers' The Ballad Of The Sad Cafe (Bloom's Modern Critical Interpretations) by Sterling Professor of the Humanities Harold Bloom