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Black Spring par Henry Miller
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Black Spring (original 1936; édition 1994)

par Henry Miller

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1,3091114,546 (3.75)31
Continuing the subversive self-revelation begun in Tropic of Cancer and Tropic of Capricorn, Henry Miller takes readers along a mad, free-associating journey from the damp grime of his Brooklyn youth to the sun-splashed cafes and squalid flats of Paris. With incomparable glee, Miller shifts effortlessly from Virgil to venereal disease, from Rabelais to Roquefort. In this seductive technicolor swirl of Paris and New York, he captures like no one else the blending of people and the cities they inhabit.… (plus d'informations)
Membre:RickHarsch
Titre:Black Spring
Auteurs:Henry Miller
Info:Grove Press (1994), Paperback, 243 pages
Collections:Votre bibliothèque
Évaluation:*****
Mots-clés:Aucun

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Printemps noir par Henry Miller (1936)

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The intensity and sublimity of Miller's prose, graphed on a chart depicting beginning to end, would look like an inverted parabola. ( )
  chrisvia | Apr 29, 2021 |
Henry in fine spirits, Black Spring is a collection of works seeded together and wrapped up in Miller's later years, the final novel in the Tropics series. Very close in some parts to Lawrence Durrell's The Black Book, which I am to think influenced Miller, as there are some aspects that are too glucose for Henry's regular style.

I just let Millers timeless rants flood me, not worrying too much if my mind wandered, I'd always return back to some part which managed to pull me in deep within the bowels of Henry's mirth at a downcast and sodden world, a world which for all its diseases is eternally Spring.

Some great moments including Henry's observations on French urinals and the art of peeing, the poet Jabberwhorl Cronstadt seeing everything and literally including the kitchen sink as poetry, erections whilst listening to Wagner, but as usual I find some of Henry's self reflecting rants as tiresome as my own. Henry Miller has a habit of really pushing the point of who he is under certain phases of mood and perspective, and he labors the point, but Henry gets so caught up in all this, he has to and wants to do it, I imagine less for the sake of the reader but more for the sake of himself.

( )
  RupertOwen | Apr 27, 2021 |
"Black Spring" is filled with writings about Miller's youth, both as a child growing up the son of a tailor and as a young man experiencing Paris. It is dedicated to Anais Nin and was published in the mid-30s. Like all of Miller's writing, it is exuberant, weird, over-the-top, and fascinating. The writing puts Kerouac to shame with its uninhibited, wild freedom that is quite satisfying to read. ( )
  Marse | Mar 10, 2018 |
Awful, just awful. Miller's interesting use of language wasn't enough to rescue this piece of crap from the crap pile. No redeeming value whatsoever. ( )
1 voter AliceAnna | Aug 9, 2014 |
Indeholder "Forord", "Fjortende distrikt", "Vaarens tredie eller fjerde dag", "En lørdag eftermiddag", "Englen er mit vandmærke", "Skræderbutikken", "Jabberwhorl Cronstadt", "Ind i det nattens liv", "Kinesisk promenade", "Burlesk", "Megalopolitansk maniker".

"Forord" handler om at den udkom i 1936 og altså ligger mellem Krebsens og Stenbukkens Vendekreds, der kom i 1934 og 1939. Og om Miller som en moderne digter. Forordet er skrevet af Jørgen Gustava Brandt.
"Fjortende distrikt" handler om ???
"Vaarens tredie eller fjerde dag" handler om ???
"En lørdag eftermiddag" handler om ???
"Englen er mit vandmærke" handler om ???
"Skræderbutikken" handler om ???
"Jabberwhorl Cronstadt" handler om ???
"Ind i det nattens liv" handler om ???
"Kinesisk promenade" handler om ???
"Burlesk" handler om ???
"Megalopolitansk maniker" handler om ???

??? ( )
  bnielsen | Sep 12, 2013 |
Affichage de 1-5 de 10 (suivant | tout afficher)
Black Spring is, I think, one of the finest evocations of low urban life in all American literature. ‘I am a patriot,’ says Miller, ‘of the Fourteenth Ward, Brooklyn, where I was raised. The rest of the United States doesn’t exist for me, except as idea, or history, or literature.’ The patriotism is expressed in an almost myopically close rendering of a world of ‘cancer, dropsy, cirrhosis of the liver, insanity, thievery, mendacity, buggery, incest, paralysis, tapeworms, abortions, triplets, idiots, drunkards, ne’er-do-wells, fanatics, sailors, tailors, watchmakers, scarlet fever, whooping cough, meningitis, running ears, chorea, stutterers, jailbirds, dreamers, storytellers, bartenders – and finally there was Uncle George and Tante Melia.’

Though he disavows either a literary aim or a learned technique, Miller belongs to the logorrheal tradition of Rabelais and Sterne (as does Burroughs). He becomes a wordy bore only when he finds it necessary to prophesy; that great American disease we can call vatism is in him as it is in Dahlberg and even Mailer. When Miller starts talking about Love, not amour, I feel like giving him a few francs to go to a brothel.
ajouté par SnootyBaronet | modifierNew York Times, Anthony Burgess
 
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Can I be as I believe myself or as others believe me to be? Here is where these lines become a confession in the presence of my unknown and unknowable me, unknown and unknowable for myself. Here is where I create the legend wherein I must bury myself.
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What is not in the open street is false, derived, that is to say, literature.
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Up on the Brooklyn Bridge a man is standing in agony, waiting to jump, or waiting to write a poem, or waiting for the blood to leave his vessels because if he advances another foot the pain of his love will kill him.
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Please distinguish between Henry Miller's 1936 novel, Black Spring, and Christina Henry's similarly-titled Black Spring (A Black Wings Novel) from 2014. Thank you.
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Continuing the subversive self-revelation begun in Tropic of Cancer and Tropic of Capricorn, Henry Miller takes readers along a mad, free-associating journey from the damp grime of his Brooklyn youth to the sun-splashed cafes and squalid flats of Paris. With incomparable glee, Miller shifts effortlessly from Virgil to venereal disease, from Rabelais to Roquefort. In this seductive technicolor swirl of Paris and New York, he captures like no one else the blending of people and the cities they inhabit.

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