Anita Brookner

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Brookner, Anita,

1928–2016, English writer and art critic. After establishing an academic career at London's Courtauld Institute of Art and becoming the first woman appointed (1968) Slade Professor of Art at Cambridge, she began writing fiction in 1980, producing approximately one book a year of elegant, restrained prose. Her quiet, elegiac, and often bleak novels usually concern lonely, meek, and genteel middle-aged women (and occasionally men), unlucky in love and yearning for it, but largely unable to establish or maintain relationships with those around them. Brookner's works include Look at Me (1983), Hotel du Lac (1984; Booker Prize), Latecomers (1988), Fraud (1992), Undue Influence (1999), Strangers (2009), and her last work of fiction, the e-book novella At the Hairdressers (2011). Her nonfiction work Romanticism and Its Discontents (2000) is an analysis of French Romanticism.
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References in periodicals archive ?
Anita Brookner's novel meanders through the ritualistic world of one man, afraid to admit what he truly desires.
Berg's invocation of both Thomas Crow and Anita Brookner gives no sense of their radically incompatible approaches to the very structure of this image, which remains, in his view, exceptional in its clarity of intent.
She includes ideas of George Orwell, Friedrich von Schiller, Lionel Trilling, Friedrich Nietzsche, Elizabeth Gaskell, and Aldous Huxley and compares Pym's works to other writers such as Muriel Spark, Margaret Drabble, and Anita Brookner. Donato received a PhD from the Graduate School and University Center of the City University of New York.
Jessie Milligan reviewed Anita Brookner's Leaving Home for the Fort Worth Star-Telegram, a review that also appeared in South Florida's Sun-Sentinel (12 February 2006).
In Anita Brookner's novel, the mother always calls her daughter
There is no discussion of some of the most fascinating post-1950 novelists: Wyndham Lewis, Graham Greene, Francis King, Anita Brookner, David Lodge, A.
Fictions discussed include Margaret Drabble's The Millstone (1965), Jill Neville's The Love Germ (1969), the novels of Anita Brookner, Angela Carter, and Fay Weldon, and the exploratory, limit-testing fictions of Jeanette Winterson.
Los capitulos octavo, noveno y decimo de Socorro Suarez, Leonor Acosta y Maria del Carmen Rodriguez Fernandez, respectivamente, cartografian la novelistica a partir de los anos cuarenta, desde las re-escrituras de Jean Rhys, Antonia Byatt, Angela Carter y Emma Tennant; el humor negro de Muriel Spark e Iris Murdoch; los universos densamente simbolicos de Anita Brookner, hasta llegar a la explosion multicultural en la obra de jovenes autoras como Zadie Smith.
Like Anita Brookner, he revisits familiar territories in all his books--sexual obsession; homosocial relationships; the social intricacies of the aristocracy--as he lays bare the self-involvement and limitations of his highly refined characters.
The ambiguities and ambivalences in gendered roles, however, would continue to inform fiction by twentieth-century writers like Rebecca West, Josephine Leslie, and Anita Brookner, and Stetz guides readers through these later fictions exceptionally well.
She has a strong predilection for terse, dyspeptic English women novelists: Pat Barker, Anita Brookner, Barbara Pym, Elizabeth Bowen.