MLR, 104.1, 2009 145 Nilges isather mostoriginal whendrawing ourattention totheseminalimportance ofAMidsummer Night's Dream fortheinception ofDieMeistersinger von Niirnberg. She reminds us thatthe Wieland translation ofShakespeare's playoriginally bore thetitle Ein St. Johannis Nachts-Traum, and immediately opens our eyes to the similarities between whathappensduringa certain nightinShakespeare's Athens andWagner'sNuremberg(Lysander's plea that Hermia should leaveher father's houseand flee withhim,and the projected elopement of WaltherandEva), also the similarity of images usedbyShakespeare and Wagnerand theimportance of moon, 'Wahn', andmidsummer madness.Thisexcellent bookendswitha lookat Wieland Wagner's almostElizabethanstageset inhisMeistersinger production(1963) and an assessment of Wagner's verytelling references toShakespeareas reported by Cosima.Wagnerians and Shakespearescholarsalikewill be deeply indebtedto Nilges for herperceptive anderuditestudy. STANDREWS R. S. FURNESS The Absurdin Literature. ByNEILCORNWELL. ManchesterandNewYork: Manches terUniversity Press. 2006. xiii+354 pp. ?17.99. ISBN 978-0-7190-7410-3. This isvery much a book focusing on a few'special authors', asNeil Cornwellputs it. Afteran impressive review of theoretical literature on thenatureof theabsurd and a quick lookat elements of Shakespeareand the more obviousSterneand Swift for antecedents tothetwentieth-century absurd, PartII moves rapidly through anoverview ofFernandoPessoa,Antonin Artaud, AlbertCamus,Eugene lonesco, HaroldPinter, and the OBERIU. PartIIIfocuses on four keyauthors: DaniilKharms, FranzKafka,SamuelBeckett, andFlannO'Brien. Both thereviewsectionat thebeginning and theauthorstudiesqualifyas ex tremely rich, andattimes exhaustively detailed, mixtures ofclosereading, commen tary on existing criticism, overview of context, cross-reference betweenauthors, and,most effectively, extensive and pithy directquotationfrom someof the most influential studies and thinkers on theabsurd. MartinEsslin'sseminal TheTheatre of the Absurd(Harmondsworth: Penguin, 1987) loomslarge, but we arealso frequently inthecompany ofBakhtin, Eagleton, Eco,Adorno,Baudelaire, Benjamin, Bergson, and a host of other writers and thinkers. For me this is themajor strength of the book-its encyclopedic collection andexamination ofsecondary sources. Cornwell isnotafraidtoletothers' wordsexpressthe variety of thinking onwhatconstitutes the absurd, but is also able to give us glimpses ofwhat may link these rather dif ferent authors:'aconcern with the"ontological status of the'real""(p. 18,quoting SusanStewart, Nonsense: AspectsofIntertextuality inFolklore andLiterature (Balti more: Johns HopkinsUniversity Press,1989),p. 12); language used,paradoxically, toexpresstheinadequacy ofhumanexpression. The absurdfor Cornwellisborn ofnihilism and thecertainty ofdeath,suckled by theexistentialists' struggle with belief, non-belief, and rationalism; thefirst words itutters are thoseoften misas cribedtoTertullian:'credo quia absurdum':'Ibelievebecause itisabsurd'(p. lo). 146 Reviews (Tertullian actually wrote 'credibile est,quia ineptum est'(De carne Christi, v. 4: 'it isbelievable because itisabsurd').)Thisapophatictheology ledtoan awareness of thelimits ofhumanexpression of thedivine, and for Cornwellinforms the workof those preoccupied with theabsurdity of thehumancondition, from NikolaiGogol toFriedrich Nietzsche,Jonesco toTomStoppard. In themain sectionon specialauthors we are givena briefexamination of Kharms,anauthor onwhomCornwellcan rightly claimtobe theleading authority. 'Narration overepisode' (p. 163)-refusingplot-is takento a self-undermining excess inKharms in a degree not found in any other writer. Hence he is awriter of disconnected'incidents' and 'skeletal terseness' (p. 166).TheKharmsiannarrative includes elements offarce suchas theinfliction ofpain andbodilyindignity. Com mentingonNeil Carrick, Cornwellagreesthat Kharms'swork constitutes a form of 'negative ontology, butan absurdisttheology' (DaniilKharms:Theologian of the Absurd(Birmingham, DepartmentofRussianLanguageandLiterature, University ofBirmingham, 1998),p. 8o). The nextchapteropenswith an examination ofKafka'spossibleantecedents, including Dostoevsky(W J. Dodd, Kafta andDostoyevsky: TheShaping ofInfluence (Basingstoke: Macmillan,1992)), aswell as speculation as totheformer's influence onwriterssuchasVladimirNabokov andPinter. Kafka'scontribution to the'bu reaucratic tradition' isexamined before comparisons are madewithKharms's motifs and themes-contortionism, episodic mundane events. A further Kharmsiantrace (motifs offalling, rubbish, begging, andan interest inchildren and theold) isfound inBeckett, whose dramaandprose-especially Watt (1970)-is afforded the most sustained analysis of any of the authors in this study. In the final author study,Flann O'Brien's The Third Policeman (1974) is given a thorough examination-in termsof structure and language-to arrive at a definition ofthis workasabsurd owingtoits'non-sense' circular narrative, and theforeground inginthe novel'sdifferent voicesof thecommunicative 'failure of language'. Some readers will find the structure and organizing principles of this study as episodic and disconnected as the authors itexamines. However, Cornwell does ma nage tokeep on track the central argument of theabsurd in literature as consistently informed by existentialist concerns. He is carefultoonot todiscounttheother approaches, especially the 'school category' as put forward by Esslin on theatre.A quotation from Ionesco from that study sums up a central concern ofmany of the writers examined here: 'toattack...
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