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Introduction and Notes by Robert Folkenflik Rich in playful double entendres, digressions, formal oddities, and typographical experiments, "The Life and Opinions of Tristram Shandy, Gentleman "provoked a literary sensation when it first appeared in England in a series of volumes from 1759 to 1767. An ingeniously structured novel (about writing a novel) that fascinates like a verbal game of chess, "Tristram Shandy "is the most protean and playful English novel of the eighteenth century and a celebration of the art of fiction; its inventiveness anticipates the work of Joyce, Rushdie, and Fuentes in our own century. This Modern Library Paperback is set from the nine-volume first edition from 1759.… (més)
I first read Tristram Shandy when I was 23, more than thirty years ago, and still have the slightly mildewed paperback that I picked up off a Cambridge bookstall one day in late 1990. I can’t honestly tell you what happens in it; I can’t find any particular lines that resonate or are very quotable; the most memorable moment is when our hero’s penis gets caught in the windowframe in Book 5 Chapter 17. (Sorry for the spoiler.)
And yet somehow I love it. It’s rambling, self-indulgent, full of references to things I know nothing about; and at the same time the stream-of-consciousness narrative, the refusal to make many concessions to the reader who wants to know what is actually going on, are part of the charm. It’s clearly an inspiration for Joyce, Woolf, and lots of the modernist writers who I really like; but it’s a book of its own time, requiring friendly engagement and repaying that engagement with warmth and humour. ( )
You almost feel that you are looking at the world through the eyes of a drunk, a very merry drunk, but a drunk all the same. This novel, Don Quixote, and John Barth's The Sot-Weed factor rank among my all-time favourites. ( )
This new edition of The Life and Opinions of Tristram Shandy, Gentleman is the first book published by Visual Editions: a new London-based book publisher of literary fiction and non-fiction who make use of what they call "visual writing." They believe books should be as visually compelling as the stories they tell, and their strapline is "great looking stories." Their aim to publish The Life and Opinions of Tristram Shandy, Gentleman as their first title is to show where the idea of "visual writing" originated, to show where it all began. The idea is to bring out the book’s brilliance and playfulness again, to dust it down from its shoddy Dover Classics image and make it accessible and relevant again to a more contemporary audience. Visual Editions asked the designers to breathe new life into the book and told the designers to add new visual elements in as well. As long as they stayed faithful to Sterne's spirit, then VE were happy to let the designers roam. And so they did: a shut door is a folded page, perspiration is pages of dotted spot varnish and the marbled page is a moiré of a black-and-white photograph (a nod to contemporary printing technologies, in the way that the marbled page was a result of technologies of the time). British author Will Self introduces the book, with the typically wonderful irreverence that Sterne himself would have loved.
Sometimes the archaic (even for the time) language and incredibly twisty sentences get a bit too much, but that's part of the humour. The way the book messes around with what a book *is* and the ideas of narrative structure are laugh out loud funny and made funnier by the things that also make it difficult to read sometimes. Highlights include a chapter where he plays the fiddle between events, including some incredible onomatopoeia, and a chapter which he begins by apologising for digressing constantly, describes the difficulties involved in writing as such for 2 pages, and then apologises again and starts the chapter again. ( )
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ταρασσει τους ἀνθρωπους οὐ τα πραγματα ἀλλα τα περι των πραγματων δογματα.
What stresses mankind is not things, but opinions about things --- Epictetus
Dedicatòria
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To the Right Honourable Mr. Pitt.
Sir,
Never poor Wight of a Dedicator had less hopes from his Dedication, than I have from this of mine; for it is written in a bye corner of the kingdom, and in a retir'd thatch'd house, where I live in a constant endeavour to fence against the infirmities of ill health, and other evils of life, by mirth; being firmly persuaded that every time a man smiles,—but much more so, when he laughs, it adds something to this Fragment of Life.
I humbly beg, Sir, that you will honour this book, by taking it—(not under your Protection,—it must protect itself, but)—into the country with you; where, if I am ever told, it has made you smile; or can conceive it has beguiled you of one moment's pain—I shall think myself as happy as a minister of state;—perhaps much happier than any one (one only excepted) that I have read or heard of.
I am, Great Sir, (and, what is more to your Honour) I am, Good Sir, Your Well-wisher, and most humble Fellow-subject,
The Author.
Primeres paraules
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"I wish either my father or my mother, or indeed both of them, as they were in duty both equally bound to it, had minded what they were about when they begot me; had they duly considered how much depended upon what they were then doing; - that not only the production of a rational Being was concerned in it, but that possibly the happy formation and temperature of his body, perhaps his genius and the very cast of his mind; - and, for aught they knew to the contrary, even the fortunes of his whole house might take their turn from the humours and dispositions which were then uppermost: ---Had they duly weighed and considered all this, and proceeded accordingly, ---I am verily persuaded I should have made a quite different figure in the world from that in which the reader is likely to see me."
Citacions
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and so long as a man rides his Hobby-Horse peaceably and quietly along the King's highway, and neither compels you or me to get up behind him, - pray, Sir, what have either you or I to do with it?
What is best to take out the fire? ... If it is in a tender part, and a part which can conveniently be wrapt up ... Send to the next printer, and trust your cure to a soft sheet of paper just come off the press - you need do nothing more than twist it round. - The damp paper has a refreshing coolness in it - and the oil and lamp-black with which the paper is so strongly impregnated, does the business.
Darreres paraules
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A COCK and a BULL, said Yorick - And one of the best of its kind, I ever heard.
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This is the original work by Laurence Sterne, not the graphic novel adaptation/commentary by Martin Rowson. It should not be combined with the Norton Critical Edition, nor with single volumes of a two or three volume set.
Editor de l'editorial
Creadors de notes promocionals a la coberta
Llengua original
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Introduction and Notes by Robert Folkenflik Rich in playful double entendres, digressions, formal oddities, and typographical experiments, "The Life and Opinions of Tristram Shandy, Gentleman "provoked a literary sensation when it first appeared in England in a series of volumes from 1759 to 1767. An ingeniously structured novel (about writing a novel) that fascinates like a verbal game of chess, "Tristram Shandy "is the most protean and playful English novel of the eighteenth century and a celebration of the art of fiction; its inventiveness anticipates the work of Joyce, Rushdie, and Fuentes in our own century. This Modern Library Paperback is set from the nine-volume first edition from 1759.
)
Google Books — S'està carregant…
(3.91)
Laurence Sterne - Tristram Shandy
2
I first read Tristram Shandy when I was 23, more than thirty years ago, and still have the slightly mildewed paperback that I picked up off a Cambridge bookstall one day in late 1990. I can’t honestly tell you what happens in it; I can’t find any particular lines that resonate or are very quotable; the most memorable moment is when our hero’s penis gets caught in the windowframe in Book 5 Chapter 17. (Sorry for the spoiler.)
And yet somehow I love it. It’s rambling, self-indulgent, full of references to things I know nothing about; and at the same time the stream-of-consciousness narrative, the refusal to make many concessions to the reader who wants to know what is actually going on, are part of the charm. It’s clearly an inspiration for Joyce, Woolf, and lots of the modernist writers who I really like; but it’s a book of its own time, requiring friendly engagement and repaying that engagement with warmth and humour. (