Literature and the Arts

  • Kenneth Hudson


On the lower levels, the language of bookselling has not changed a great deal for half a century. Its clichés have shown remarkable stamina. On one side of the Atlantic we receive such orders as:

Fill your bookshelves with the most brilliantly colourful characters in English literature … Evil Fagin, the Artful Dodger, pathetic little Oliver Twist, the improvident Micawber, Mr. Pickwick and his friends, poor little Emily, Pip, Scrooge, and the rest of Dickens’ unforgettable characters! Story after story, from his experiences and amazingly fertile mind. Dickens creates a world of larger-than-life people, whose lives you share … their joy and despair, hunger, fear, laughter, greed.1


Common Life Professional Language Control Affection Contact Sheet Modern Music 
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Chapter 3

  1. 13.
    A.R. Jones, ‘The Theatre of Arnold Wesker’, Critical Quarterly, Winter 1960, p. 367.Google Scholar
  2. 18.
    John Berger and others, The Art of Seeing (BBC/Penguin Books,1972) p.10.Google Scholar
  3. 22.
    Roland Penrose, Picasso ( London: Pelican Books, 1971 ) p. 141.Google Scholar
  4. 23.
    Eric Salzman: Twentieth Century Music: An Introduction (New Jersey: Prentice-Hall, 2nd ed., 1974) p. 22.Google Scholar
  5. 25.
    Karl H. Wörner, Stockhausen. Introduced, translated and edited by Bell Hopkins (London: Faber, 1973 ) p. 62.Google Scholar
  6. 42.
    Andy Grunberg, ‘Photography, Chicago, Moholy and After’, Art in America, September/October 1976.Google Scholar
  7. 43.
    Article by Walter Klepac on Pierre Boogaert, Arts Canada July/August 1976.Google Scholar
  8. 44.
    John Russell and Suzi Gablik (eds.), Pop Art Redefined ( London: Thames and Hudson, 1969 ) p. 54.Google Scholar
  9. 47.
    John H. Walker, Art Since Pop, ( London: Thames and Hudson, 1975 ) pp. 6–7.Google Scholar

Copyright information

© Kenneth Hudson 1978

Authors and Affiliations

  • Kenneth Hudson

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