Imatge de l'autor

T. H. White (1906–1964)

Autor/a de The Once and Future King

53+ obres 27,890 Membres 390 Ressenyes 67 preferits

Sobre l'autor

Terence Hanbury White was born on May 29, 1906 in Bombay, India. He attended Cheltenham College, Gloucestershire, and Queen's College, Cambridge. The success of his autobiography, England Have My Bones, allowed him to leave teaching after six years and devote his time to writing. Although he wrote mostra'n més a wide array of novels and some poetry, he is best known for The Once and Future King, his four-volume retelling of the legend of King Arthur, which became the basis for both the musical, Camelot, and the Disney film, The Sword in the Stone. White died on January 17, 1964, while returning home from a lecture tour in America. (Bowker Author Biography) mostra'n menys

Sèrie

Obres de T. H. White

The Once and Future King (1938) 15,231 exemplars
The Book of Merlyn (1941) 3,683 exemplars
The Sword in the Stone (1938) 3,307 exemplars
Mistress Masham's Repose (1946) — Autor — 1,351 exemplars
The Goshawk (1951) 561 exemplars
The Age of Scandal (1950) 305 exemplars
The Maharajah and Other Stories (1981) 154 exemplars
The Witch in the Wood (1939) 143 exemplars
Elephant and Kangaroo (1947) 142 exemplars
The Ill-Made Knight (1940) 142 exemplars
Darkness at Pemberley (1932) 136 exemplars
England Have My Bones (1936) 116 exemplars
The Master (1957) 113 exemplars
Farewell Victoria (1500) 87 exemplars
The Candle in the Wind (1958) 65 exemplars
The Godstone and the Blackymor (1959) 54 exemplars
The Scandalmonger (1952) 21 exemplars
They Winter Abroad (1932) — Autor — 15 exemplars
A Joy Proposed (1982) 10 exemplars
The Troll (1935) 8 exemplars
First Lesson (1969) — Autor — 5 exemplars
The Books of Merlyn 1 exemplars
Earth Stopped (1934) 1 exemplars
The Unicorn 1 exemplars
Dead Mr. Nixon 1 exemplars

Obres associades

The Sword in the Stone [1963 film] (1963) — Original story — 622 exemplars
The Oxford Book of English Ghost Stories (1986) — Col·laborador — 541 exemplars
The Oxford Book of Modern Fairy Tales (1993) — Col·laborador — 365 exemplars
Shudder Again: 22 Tales of Sex and Horror (1993) — Col·laborador — 231 exemplars
Unicorns! (1982) — Col·laborador — 223 exemplars
The Golden Treasury of Children's Literature Set (1961) — Col·laborador — 209 exemplars
Modern Classics of Fantasy (1939) — Col·laborador — 206 exemplars
The Oxford Book of English Short Stories (1998) — Col·laborador — 190 exemplars
Science Fiction Stories (1991) — Col·laborador — 181 exemplars
Camelot [1967 film] (1967) — Original story — 163 exemplars
Black Water 2: More Tales of the Fantastic (1990) — Col·laborador — 152 exemplars
Murder & Other Acts of Literature (1997) — Col·laborador — 147 exemplars
Bestiary! (1985) — Col·laborador — 122 exemplars
Great Irish Tales of Fantasy and Myth (1994) — Col·laborador — 105 exemplars
The Year's Best Fantasy Stories: 5 (1980) — Col·laborador — 86 exemplars
Camelot: A New Musical [libretto] (1961) — Original play — 81 exemplars
Camelot: Original 1960 Broadway Cast Recording (1960) — Original story — 79 exemplars
Alfred Hitchcock Presents: Scream Along with Me (1970) — Col·laborador — 63 exemplars
65 Great Tales of Horror (1981) — Col·laborador — 59 exemplars
Reading for Pleasure (1957) — Col·laborador — 51 exemplars
The Young Oxford Book of Nasty Endings (1997) — Col·laborador — 42 exemplars
The Best of Both Worlds: An Anthology of Stories for All Ages (1968) — Col·laborador — 25 exemplars
Lapham's Quarterly - The Future: Volume IV, Number 4, Fall 2011 (2011) — Col·laborador — 23 exemplars
Tales of Dungeons and Dragons (1986) — Col·laborador — 23 exemplars
Open the Door (1965) — Col·laborador — 22 exemplars
Kingdoms of Sorcery: An Anthology of Adult Fantasy (1976) — Col·laborador — 21 exemplars
The British at Home (1939) — Introducció — 15 exemplars
Walt Disney's The Wizards' Duel (1963) — Original story — 15 exemplars
Visions and Imaginations: Classic Fantasy Fiction (2005) — Col·laborador — 13 exemplars
Tall Short Stories (1960) — Col·laborador — 9 exemplars
Das Hobbit-Buch (1988) — Autor — 7 exemplars
Ghostly, grim and gruesome: An anthology (1976) — Col·laborador — 7 exemplars

Etiquetat

Anglaterra (328) antologia (375) Arthur (234) Artúric (957) britànic (183) Camelot (134) clàssic (431) clàssics (443) Fantasia (3,679) Ficció (3,331) Ficció històrica (356) Folio Society (185) Folklore (120) història (190) horror (142) Infantil (264) Infants (121) knights (126) Literatura (381) literatura anglesa (172) Literatura britànica (184) literatura infantil (138) Llegenda artúrica (498) Llegit (293) Medieval (226) Merlí (346) Mitologia (411) Màgia (200) no ficció (117) no llegit (228) novel·la (446) own (148) paperback (122) pendent de llegir (1,358) Rei Artús (917) Relats curts (391) segle XX (209) sff (152) T. H. White (136) young adult (120)

Coneixement comú

Nom normalitzat
White, T. H.
Nom oficial
White, Terence Hanbury
Altres noms
Aston, James
White, Tim
Data de naixement
1906-05-29
Data de defunció
1964-01-17
Lloc d'enterrament
First Cemetery of Athens, Greece
Gènere
male
Nacionalitat
UK
País (per posar en el mapa)
England, UK
Lloc de naixement
Bombay, British India
Lloc de defunció
Piraeus, Athens, Greece
Causa de la mort
heart failure
Llocs de residència
Doolistown, County Meath, Ireland
Alderney, Channel Islands
Educació
Queens' College, University of Cambridge (BA|1928)
Cheltenham College
Professions
teacher
writer
Agent
David Higham

Membres

Converses

The Once and Future King Group Read: General Thread a 75 Books Challenge for 2010 (juny 2010)

Ressenyes

Such a big and rambling and messy and occasionally brilliant book. Gotdamn but it was fun to read.
 
Marcat
localgayangel | Hi ha 201 ressenyes més | Mar 5, 2024 |
As someone who admittedly didn't know anything about King Arthur except from the classic Disney film "The Sword In The Stone", this was a real eye opener. I completely enjoyed the first part of the book, where Merlin comes and educates Wart. That part is whimsical, fun, and just a good time. There are moments when we see the characters of Robin Hood, Maid Marian, and Little John. It felt comfortable, familiar.

Then we get to the second part of the book, and it is all downhill from there for me. We seem to pull away from Arthur and move into the Lancelot and Guenever story, which holds supreme for the rest of the book. It grew more than a little tiring. These characters made the same decisions over and over, and then felt the need to complain about them, over and over. I was more than ready to put the book down.

I hate not finishing a book, so I pressed on. The world-building is phenomenal. The mythical creatures, the backstory to other characters, and the first part alone set this book apart. It's just the Lancelot/Guenever thing that was a major mood killer. I finished the book happy to be done, but not happy to have read it.
… (més)
 
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briandrewz | Hi ha 201 ressenyes més | Feb 23, 2024 |
One of my favorite pieces of writing about what science fiction is and what it does comes from China Miéville's introduction to H. G. Wells's The First Men in the Moon. Miéville argues that science fiction is not really about the future: "It is, like any worthwhile literature, 'about' now, using a technique of rationalized (rather than free-for-all) alienation from the everyday to structure its narratives and investigate the world." But, he points out, there's also a pitfall if you go too far in the other direction: "When 'mainstream' writers dip their toes into the fantastic, they often do so with the anxiety of seriousness, keen to stress that their inventions are really 'about' other, meaningful things." What makes the fantastic work for its readers and writers, he claims (and I agree), is that it does both at once. You get a metaphor for the present day but within the world of the story, it's literally true (unlike in mimetic fiction, where metaphor is just metaphor), and that's pleasurable. He uses Jonathan Swift's Gulliver's Travels as an example of this:
In Swift, for example, Gulliver's journey to Brobdingnag [...] clearly casts a remorseless light on Swift's own society; it also, however, features a sword fight with a giant wasp, a passage the enjoyment of which depends on the specific uncanny/​estranging impact of literalizing the impossible: simply, it is a great, weird idea. Weirdness is good to think with, and is also its own end.
Miéville goes on to mention "the pleasure he [Wells] took in his oddities" as one of the things that distinguishes First Men from being only satire.

It's been a long time since I actually read Gulliver's Travels, not since childhood, but it's my memory that though certainly Brobdingnag, Lilliput, and all the other fantastic countries Gulliver visits are literally true, and the book has certainly provided its share of "great, weird" imagery—that iconic image of Gulliver tied down by the Lilliputians, which is on so many book covers and probably appears in every screen adaptation—Swift's emphasis is more on the social satire than the "great, weird" ideas. Like, sure we get swordfights with giant wasps and such, but the point of the novel is to see our human foibles writ large and writ small and writ equine. (I, for one, always though the journey to the place where they got electricity out of cucumbers was underrated.)

Mistress Masham's Repose is a 1946 children's fantasy novel by T. H. White, best known as the writer of The Once and Future King. It's clearly intended to be read aloud (the name of the dedicatee, Amaryllis Virginia Garnett, is even mentioned by the narrator a few times), though in that very British way where there are passages that the adult reader will get much more out of than the child listener, a lot like Kingsley's The Water-Babies. I found it on my wife's shelves and decided it looked interesting enough to read; the book is a sort-of sequel to Gulliver's Travels.

The premise is that there's a young orphan girl named Maria who lives on the rambling country estate that she inherited from her parents, but does not have the money to maintain. Her legal guardian is a cruel vicar, and her day-to-day guardian is an even crueler governess. Her only friends are the estate's sole servant, a cook, and a local absent-minded professor of classics. One day, exploring an island on the estate, she finds a colony of Lilliputians, brought to England and forgotten about, where they've been living for centuries in secret.

The pleasure of the book is that it takes the "great, weird idea" of the Lilliputians very seriously, probably more seriously than Swift himself did. Anticipating books like Mary Norton's The Borrowers (1952) and John Peterson's The Littles (1967), the book gives us a group of little people operating in our world, and asks how they might survive, what they might to do, say, fish in a world where the fish are to them as whales are to us, or how they might be able to intervene to battle against human adults.

The book not only gives the reader this pleasure of the fantastic, it also explores how the characters themselves experience that pleasure. There's one extended sequence where the Professor imagines what he would do if they also got hold of a Brobdingnagian giant. What would be the logistics of capturing it? How would you transport it back to England? What would you do with it then? He doesn't go through with any of this, he can't, but it's fun to see him work it all out. In another passage, Maria and the Professor debate if an island could really fly in the way Swift imagined for Laputa. (And the Professor points out "that Dr. Swift was silly to laugh about Laputa. I believe it is a mistake to make a mock of people, just because they think. There are ninety thousand people in this world who do not think, for every one who does, and these people hate the thinkers like poison. [...] Better to think about cucumbers even, than not to think at all." The book is filled with great, quiet observations like this.)

The book also finds limits to literalizing the impossible. Maria, for example, concocts an idea that Lilliputians might be able to fly in toy airplanes, and tries to make it happen. But she is (metaphorically) crashed down to earth when her pilot (literally) crashes down to earth. As she learns, we can have some fantastic imaginings that cannot be well, realized. Realistic concerns get in the way. This is disappointing to Maria, of course, but part of what makes the book pleasurable to us—if the book is to feel real, there need to be some things that cannot happen.

It's also very funny. I was forever quoting bits to my wife (who, if she had actually read the book, did not remember it all). When the Professor tries to get the local Lord Lieutenant to intervene to protect Maria from the cruelty of the vicar and the governess, who have locked her in the estate's torture dungeon, the Lord Lieutenant objects that such things aren't heard of these days:
"But, good Lord, my dear chap, you can't do that sort of thing in the nineteenth century, or the twentieth, or whatever it is. I mean, you take the first two figures, and add one, or subtract one, I forgot which, for reasons I never could fathom, possibly owin' to these X's which those chaps are always writin' on monuments, and then it is different. Now, take horses..."
     "Whether you can or can't, it has been done. I tell you..."
     "My old Grandad, or his grandad, I can't remember which, used to ride a hunter in a long point until it foundered, old boy, died, absolutely kaput. Now you couldn't do that sort of thing nowadays, not in this century, whichever it is, without getting the Society for Cruelty to Animals after you. Absolutely couldn't do it. Not done. Out of date. I heard it was the same with dungeons?"
I mean, it's funny if you like pompous out-of-touch English people going on about things, and I certainly do. The book is is filled with stuff like that.

Overall, Mistress Masham's Repose has good "worldbuilding" (I kind of shudder to apply the term here, but it fits) and good comedy, but also good themes and great hair-raising escapes and dangers and ingenious protagonists. I found it an utterly delightful 250 pages. I don't know if it would work for most readers, but it's the kind of book that felt squarely aimed at me, and all the better for it.
… (més)
 
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Stevil2001 | Hi ha 25 ressenyes més | Feb 16, 2024 |
Of all the versions of the King Arthur story I have read, this one is tied for my favorite. ([a:Stephen Lawhead|28083|Stephen R. Lawhead|https://images.gr-assets.com/authors/1247321485p2/28083.jpg]'s series is the other contender). White's version is completely ahistorical, but his heart-rending portraits of the Orkney lads and the Pellinores give a heartbeat to what can otherwise be dry or blood-soaked material.
[Update: I attempted to re-read this via audiobook a couple of years ago, and could not make it through even "The Sword in the Stone" part. Somehow it just wasn't as charming as I remembered it. But because of its impact on me as a teen-ager, I'm leaving it as a 5-star rating.]… (més)
 
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Treebeard_404 | Hi ha 201 ressenyes més | Jan 23, 2024 |

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Estadístiques

Obres
53
També de
33
Membres
27,890
Popularitat
#728
Valoració
4.0
Ressenyes
390
ISBN
331
Llengües
18
Preferit
67

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