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By Patricia Highsmith

The mythical author Patricia Highsmith is healthier remembered this day for her chilling mental thrillers The gifted Mr. Ripley and Strangers on a Train. A significantly acclaimed most sensible vendor in Europe, Highsmith has for too lengthy been underappreciated within the usa. beginning in 2011, Grove Press will start to reissue 9 of Highsmith’s works. Eleven is Highsmith’s first selection of brief tales, an arresting crew of darkish masterpieces of obsession and foreboding, violence and instability. right here naturalists meet grotesque ends and unhinged heroes disturb our sympathies. this can be a fascinating, very important assortment from “one of the actually excellent short-story writers of the 20 th century” (Otto Penzler). comprises an advent through Graham Greene.

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Siegfried Salzmann (Bremen: Kunsthalle, 1988); and Der antike Mythos und Europa: Texte und Bilder von der Antike bis ins 20. Jahrhundert, ed. Francesca Cappelletti and Gerlinde Huber-Rebenich (Berlin: Mann, 1997). Annotated anthologies of relevant texts are available in Denis de Rougemont, The Idea of Europe, trans. Norbert Guterman (New York: Macmillan, 1966); and Mythos Europa: Texte von Ovid bis Heiner Müller, ed. Almut-Barbara Renger (Leipzig: Reclam, 2003). 603–18). Almost all later accounts go back to one or all of these three sources.

3 The age of Romanticism, for at least two reasons, conspicuously ignored this once popular theme. Generally speaking, Romanticism’s obsession with the Middle Ages and the Orient meant that the longtraditional images from classical antiquity now had to share the public imagination with new ones from other periods and cultures. This shift in emphasis lasted until the late nineteenth century, when Symbolism once again looked to the Greek and Roman past as a treasure horde of images. More specifically, in the case of this particular myth the growing nationalism that nurtured Romanticism in postRevolutionary Europe did not encourage cultural interest in a theme that took as its premise Europe as a supranational entity.

43 Jacques Vernay, “La Triennale, exposition d’art français,” Les Arts, no. 154 (April 1916), 25–26; quoted in Silver, Esprit de corps, 72. Introduction 19 him to write his Outline of History (1920). “It was the last, the weariest, most disillusioned year of the first World War. . 45 Among the available sources of order the turn to antiquity was anything but self-evident, for the war had exposed the inadequacy of traditional European classical education to forestall its brutality and horrors. Wilfrid Owen was speaking for a generation that had been thoroughly grounded in Greek and Latin before being sent off to die in the trenches of World War I.

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