Mordecai Richler Richler, Mordecai (Vol. 185) - Essay - eNotes

Essays and criticism on Mordecai Richler - Richler, Mordecai (Vol. 185)

The critical reception of Cocksure -- published, like all subsequent Richler novels, simultaneouslyin Toronto, New York and London -- was overwhelmingly enthusiastic. Anthony Burgess, forinstance, a reader of the submitted typescript, stated: "I have no hesitation in praising it as a seriouswork of literary art -- in public if necessary". And he went on to do so in a review in Life. Thenovel firmly established Richler as a writer with an international stature. It was translated intoseveral languages, including Dutch, Italian and Japanese. An extract won the Paris Review AnnualPrize for humour. In Canada, Richler was given the Governor General's Award for Cocksure anda collection of essays, Hunting Tigers Under Glass, published also in 1968.

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In his essays and articles of this period, Richler tends to criticize harshly the Canadian cultural scenes; it is likely that he Mordecai Richler Essays is doing so here; but Mordecai Richler Essays he is also having Mordecai Richler Essays

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University of Toronto Press, 1965; Hunting Tigers Under Glass: Essays and Reports by Mordecai Richler, Toronto, McClelland & Stewart, 1969; Mordecai Richler

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University of Toronto Press, 1965; Hunting Tigers Under Glass: Essays and Reports by Mordecai Richler, Toronto, McClelland & Stewart, 1969; Mordecai Richler

“The apprenticeship of Duddy Kravitz” by Mordecai Richler Essay

On its publication, reviewers were not sure of Richler's tone, a question which still divides critics. Malcolm Ross, for instance, believes that the "comedy is as black as it is brilliant. There is hardeven cruel mockery in Richler's laughter". On the other hand, George Woodcock feels that "lightsatire is perhaps the best term to describe this amusing but insubstantial book". Others are unableto take a firm stand on the nature of Richler's intent. F. W. Watt, for example, wonders aboutRichler's depiction of his characters: "with what gravity does he offer it and do we receive it?". Inhis essays and articles of this period, Richler tends to criticize harshly the Canadian cultural scenes;it is likely that he is doing so here; but he is also having fun. He himself describes the novel as "amuch gentler book [than Cocksure]. More of a spoof".

University of Toronto Press, 1965; Hunting Tigers Under Glass: Essays and Reports by Mordecai Richler, Toronto, McClelland & Stewart, 1969; Mordecai Richler

Henighan, Stephen, “Myths of Making It: Structure and Vision in Richler and Beauchemin,” Essays on Canadian Writing 36 (Spring 1988):22–37

Mordecai Richler Essay Examples | Kibin

“On first glance, or even on third, it seems not much a city as a jumble of a used building lot, where the spare office towers and box-shaped apartment buildings and cinder block motels discarded in the construction of real cities have been abandoned to waste away in the cruel prairie winter,” Richler wrote in the essay.

Noah Richler, Commonwealth Questions, The Essay - BBC

Ten years after his death, Mordecai Richler’s name remains mud in Edmonton for comments he made about the city in a 1985 essay for the New York Times on Wayne Gretzky, but questions remain about whether the legendary author was slaying the Alberta capital or actually celebrating it.

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While working on this new novel, Richler has continued to be a scriptwriter and a journalist. Hewrote the script for the movie of Joshua Then and Now (1984), and published two books, ananthology The Best of Modern Humour (1983) and Home Sweet Home (1984), a selection ofpreviously published journalistic essays and reports. Richler takes himself very seriously as ajournalist, and no introduction to his work should ignore this aspect of his writing. While hedismisses scriptwriting as a means of buying time for his novels and as a form not worthy of theserious novelist, journalism is another matter. "I like journalism", he states frankly; "I take as muchcare of my journalism as anything I write". He is a prolific journalist, with about four hundredpieces published in both popular and prestigious journals and magazines in Canada, the UnitedStates and Britain. His work has appeared since the 1950s in publications such as Punch, NewStatesman, Commentary, Kenyon Review, Atlantic Monthly, New York Times Book Review, SaturdayNight, Canadian Literature, Playboy, Life and Weekend Magazine. Not unexpectedly for one whohas written so much and in such a range of publications, his journalism is uneven in quality. Somearticles are written simply to startle or to be controversial, some are repetitive and self-plagiarizing,some are hasty opinions evidently written to be discarded and forgotten, and some are very serious,written with great deliberation over matter and style. Richler himself has selected and edited thepieces important to him in five collections: Hunting Tigers Under Glass (1968), The Street (1969),Shovelling Trouble (1972), Notes on an Endangered Species and Others (1974) and Home SweetHome (1984).

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The origins of Joshua Then and Now and certain parallels between Joshua's and Richler'sexperiences inevitably invite consideration of the closeness of the author and his protagonist. Joshua Then and Now originated with Richler's return to Spain in 1976 after an absence of twenty-five years to write an introductory essay for Images of Spain. Richler was accompanied by his wife,a fact which reminds the reader that Joshua Then and Now is fictional though based in parts onRichler's experiences. After two weeks in Spain, during which time he revisited Ibiza where, likeJoshua, he had lived for a short time in his youth, Richler produced not a travel piece but a very longessay about what Ibiza had once meant to him. For Images of Spain, Richler wrote a separateintroduction which, though it says much about the geography, history and customs, is essentiallydry, for Richler's more personal responses and his more meaningful visit to Ibiza were removed forinclusion in what was to become Joshua Then and Now. He rewrote the longer, personal essay asa memoir of his experiences in Ibiza and London, and later revised this memoir, transforming it intoa work written in the first person which was "teetering between a memoir and a novel", andeventually into its present novel form where the third person replaces the first person. But elementsof the memoir are clearly evident, as Richler himself mentions: "I remember, as Joshua does in mynovel,...coming on this picture of Franco striding through shelled Madrid -- a conqueror. I don'tknow quite what it meant to me at that time. I don't pretend that I was politically conscious at theage of 8 or 9, but for some reason it did move me".