By Annie Proulx
The 3rd novel from the Pulitzer Prize-winning writer of 'The transport News', 'Accordion Crimes' spans generations, continents and a century and confirms the hallucinatory strength of Proulx's writing. 'Accordion Crimes' is a masterpiece of story-telling that spans a century and a continent. It opens in 1890 in Sicily, while an accordion-maker and his son, sporting little greater than his best button accordion, start their voyage to the teeming, violent port of latest Orleans. inside a yr, the accordion-maker is murdered via an anti-Italian lynch mob, yet his software consists of the radical into one other group of immigrants: German-Americans founding a brand new city in South Dakota. relocating from South Dakota to Texas, from Montana to Maine, the 9 immediately compelling and intricately attached sections of the radical light up the lives of the founders of a state, descendants of Mexicans, Poles, Germans, Irish, Scots and Franco-Canadians. throughout the song of the accordion they show their fantasies, sorrows and enthusiasm.
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The 3rd novel from the Pulitzer Prize-winning writer of 'The delivery News', 'Accordion Crimes' spans generations, continents and a century and confirms the hallucinatory energy of Proulx's writing. 'Accordion Crimes' is a masterpiece of story-telling that spans a century and a continent.
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Extra info for Accordion Crimes
As early as 1927 Edmund Wilson wrote: ‘The reputation of Ernest Hemingway has, in a very short time, reached such proportions that it has already become fashionable to disparage him’ (No. 19). Lillian Ross’ ‘New Yorker’ profile, which appeared in May 1950 as an antidote to Cowley’s sympathetic portrait, struck a devastating blow to the Hemingway legend. Though it is safe to assume that Hemingway played the role of tame bear and that he was not quite as stupid and boorish as Ross’ malicious profile suggests, she did demonstrate that he had followed a descending path—characteristic of successful American novelists—from the charming Paris flat above the sawmill in the early twenties to the luxury and snobbery of the grand hotels of Venice in the late forties.
70). ’ He concludes that the Spanish war has ‘restored to Hemingway his seriousness as a writer’ (No. 71). Mellers, who was critical of ‘The Fifth Column and The First Forty-Nine Stories,’ gives cool recognition to the merits of Hemingway’s novel. ’ He also accurately predicts that the ‘book should make a superb film’ (No. 73). Forster, writing a short moralistic paragraph in the ‘Listener,’ sees a penitential theme in the novel: ‘“For Whom the Bell Tolls” is a long, very serious book about the Spanish War, where Hemingway fought on the Republican siue, and it deals with the blowing up of a bridge in the mountains, with Madrid, and with the Spaniards and the Americans who are engaged on the work.
Like most critics, Alfred Kazin liked the stories (which were then being included in school textbooks) much better than the play, which failed to do justice to the important theme of commitment and to the complex politics of the war (No. 54). ’ He also notes that Hemingway’s violence, which once appeared excessive, now ‘seems a simple and accurate description of the world in which we live’ (No. 55). ’ Wilson shrewdly observes that the power of Hemingway’s early stories, in contrast to the play, is his ability to identify himself with both the injurer and the injured.
Accordion Crimes by Annie Proulx