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195 landscape," and effectively disposes of many of the standard complaints about that novel by emphasizing the ways in which it explores the question "What is the use of Rickie Elliott in this world." He is also nicely attuned to the Italian novels and to Howards End, and for the latter offers an original analysis of how authorial commentary works. He has a good eye and ear for their best moments, but he never settles down long enough. For the most part his method is to quote a bit, praise a bit, and quote a bit more. One of his points of recurrent praise concerns Forster as the master of the fictional letter, so that even in Maurice he acknowledges the achievement of Scudder's letters. But a few "felicities" aside, Maurice is almost a total loss, even more to be regretted, Scott argues, because "writing Maurice made still-born Arctic Summer," a novel that Scott would have much preferred to have had completed. In support of this position he gives Arctic Summer an interesting reading (something rarely done), but what he likes most about that unfinished novel is that the central relationship involves sublimation, for Scott's first rule for a writer is to "repress yourself, encourage your themes to come forth in sublimated form." But his regret at Forster's abandoning the novel is expressed in quite hectic terms: "In the way of thinking on that loss, madness lies." I cannot imagine for whom this book was intended. Its plot summaries and capsule characterizations would suggest the general reader or the beginning student, but what a bizarre introduction this would be. Nonetheless, scattered about these pages there is an affecting essay on the value and function of landscape. In even more scattered fashion there are some notes and jottings about voice and language, and others on the Forsterian themes of love and charity. Those essays, however, never in fact got written, but a strangely lopsided jeremiad with an overlay of panegyric appeared instead. Concordia University Judith Scherer Herz 3. GEORGE MOORE'S 50TH Janet Egleson Dunleavy, ed. George Moore in Perspective. Gerrards Cross: Colin Smythe [Irish Literary Studies 16]; Totowa, NJ: Barnes and Noble, 1983. $28.50 Whoever puts together a volume of essays with the purpose of reappraising or commemorating the achievement of a varied, prolific writer deserves to be praised for courage, since it is unlikely another specialist will totally agree with the subjects treated or the conclusions arrived at. If 196 one can ignore human failings, he must recognize another problem. How does such an editor escape the charge of reinventing the wheel? Some duplication of scholarship is inevitable , though regrettable. For it to be an acceptable tome, the articles must be lively and often informative. Janet Egleson Dunleavy's George Moore in Perspective is such a volume. She and her fellow contributors succeed in giving us a perspective of Moore the man and the author on the fiftieth anniversary of his death. By definition, however, a perspective can be either a single view/vista or a three-dimensional picture. Since five of the nine contributors have University of Wisconsin at Milwaukee affiliation, there is a danger of a single view. This is countered by the range of topics treated. In order, one finds the editor's own "Reappraisal," Richard J. Byrne's "Moore Hall, 1952," Jane Crisler's "George Moore's Paris," James Liddy's "George Moore's Dublin," Robert S. Becker's "Private Moore, Public Moore: the Evidence of the Letters," Gareth W. Dunleavy's "George Moore's Medievalism: A Modern Triptych," Patrick A. McCarthy's "The Moore-Joyce Nexus: An Irish Literary Comedy," Melvin J. Friedman's "George Moore and Samuel Beckett: Cross Currents and Correspondences," and Edwin Gilcher's two essays, "Collecting Moore" and "Some Bibliographical Notes." Even though I miss an essay on Moore's London, this is a more than respectable range of topics to include in a commemorative volume. Janet Egleson Dunleavy sets the parameters of the volume in her "Reappraisal," which reviews the life, mentions important studies, and identifies four problems the reader has with Moore's works. For the Moore specialist, these are familiar: "separating the...


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pp. 195-199
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