John Williams Stoner Review
John Williams Stoner Analysis
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Essays for Stoner. Stoner essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Stoner by John Williams. The presentation of The Lost Generation in The Great Gatsby and Stoner.

Book Review: Stoner by, John Williams Sunday, January 24, 2021 “he thought he could feel the blood flowing invisibly through the tiny veins and arteries, throbbing delicately and precariously from his fingertips through his body.” Stoner by, John Williams has.
Stoner by Williams, John, 1922-1994. Publication date 2003 Topics Literature, English teachers, College teachers, Marital conflict, Adultery Publisher.
The main characters of Stoner novel are William Stoner, Emma. The book has been awarded with Waterstones Book of the Year (2013), Edgar Awards and many others. One of the Best Works of John Williams. Published in multiple languages including English, consists of 278 pages and is available in Paperback format for offline reading.

John Williams Stoner Review

Whatever my reservations about the New York Review of Books, if it subsidizes reissues of things like this, I pardon its sins. Extra points for choosing such an apt cover painting to implicitly portray its hapless professor hero:

And here is Stoner speaking:

Stoner looked across the room, out of the window, trying to remember. “The three of us were together, and he said–something about the University being an asylum, a refuge from the world, for the dispossessed, the crippled. But he didn’t mean Walker. Dave would have thought of Walker as–as the world. And we can’t let him in. For if we do, we become like the world, just as unreal, just as…The only hope we have is to keep him out.”

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Walker is an ignorant, smooth-talking, careerist academic, and there’s little separating his portrayal in this book (from 1965, but taking place mostly in the first half of the century) from these sorts of people today. Stoner is an impractical dreamer, a farmboy who goes to a local college and discovers he loves literature, and so does his graduate work at the same school and then gets a professorship there. He makes two mistakes: he marries the wrong woman, and he makes the wrong enemy in his department. These are big mistakes, and he pays big for them.

John Williams Stoner Analysis

I cannot recall any other academic novel that treats its subject material with such unremitting gravity. The standard model of an academic novel is to either indulge in high melodrama (Mary McCarthy, Iris Murdoch) or to make light of the intellectual pretenses of its characters (Kinsley Amis’s overrated Lucky Jim, Malcolm Bradbury’s far funnier Stepping Westward). Williams’s approach seems to have been to adopt the social realist approach of George Gissingand Sinclair Lewis’s more sober moments and apply it to the incongruous and hermetic world of a university. Consequently, he treats the small events of Stoner’s life with a sense of real consequence, as though they were matters of life and death. And so they become.

After his mistakes, Stoner is a defeated man, and it takes him years to recover. But what saves the novel from being just an exercise in misery is that Stoner does get his triumph. He fights against the inertial decline of his life, and he wins. It is, objectively speaking, a small triumph, but on the terms that Williams has set, it validates his existence without qualification. The novel is a passage from ideals that cannot be fulfilled to a non-tragic view of life, and it’s summarized best in this passage:

In his extreme youth Stoner had thought of love as an absolute state of being to which, if one were lucky, one might find access; in his maturity he had decided it was the heaven of a false religion, toward which one ought to gaze with an amused disbelief, a gently familiar contempt, and an embarrassed nostalgia. Now in his middle age, he began to know that it was neither a stae of grace nor an illusion; he saw it as an act of becoming, a condition that was invented and modified moment by moment and day by day, by the will and the intelligence and the heart.

I don’t mean to downplay the brutally accurate portrayals of academic politics and fleeting trends, which feel absolutely au courant, but the novel would not stand out as it does if it did not treat its subject matter with the same respect and humility with which Stoner himself treats literature and teaching.

I’m occasionally accused of being too enthusiastic about books on Twitter. Firstly, I think it’s an peppy medium, feeding upon shared pleasures, the web that the love of a good book can knit between people. Secondly, I’ve been on a good run recently. 2013 was the year I discovered Shirley Hazzard, whose novels (particularly The Transit of Venus and The Great Fire) I loved so much I named my kitten after her. World, meet Shirley Hazzard.

I also read great new books by Evie Wyld, Richard Ford, Laurent Binet, David Leavitt and Kate Atkinson, wonderful older books by J.L. Carr, Natalia Ginzberg and Katharine Burdekin. I hit one of those purple patches where every book you read opens up into another, and all of them glitter.

I rarely write about books I dislike. On occasion, it has seemed like a public duty to let the world know of a real stinker, but usually if I get sent something I don’t enjoy, it is slipped quietly round the corner to the pile outside Kensal Rise Library.

Laura Hassan, the editor at Vintage (now at Guardian Faber) who rediscovered and republished Stoner last year, is one of my favourite people. We’ve known each other forever: she introduced me to Richard Yates, William Maxwell, Lydia Davis, John Jeremiah Sullivan. She even named my first novel over a boozy dinner some time in 2008. Before Laura, This Bleeding City was called After the Crash.

I was prompted to write this when Stoner won the Waterstones Book of the Year Award. There were – as I’ve said above – some stunners out in 2013, and it pains me that a novel as colourless, as disheartening, as soulless as Stoner should be held up as the year’s best.

Then Julian Barnes wrote a (for him) gushing piece in the Guardian, calling it “the must-read novel of 2013.”

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John Williams Stoner Deutsch

I don’t mind depressing novels. My all-time favourites, from The Brothers Karamazov through Life and Fate to the aforementioned The Transit of Venus are hardly slapstick. But there is something unutterably drab in the gloom that mires Stoner, something so hope-sapping about the smallness of William Stoner’s life, the narrowness of his dreams. I was reminded of Barnes’s Booker-winning The Sense of an Ending, with its dreary and defeated narrator. No wonder he enjoyed it so much. Stoner gives you the breadth of a life but, rather than making you feel the variety, the richness, the peaks and troughs of that life, we get nothing but failure after miserable failure. We don’t even get an Ivan Ilych-style redemption in death. William Stoner is as bad at dying as he is at living.

I’m not saying I need every novel to fizz with magical realist fireworks, or to lift me up on some sublime cloud. But the blurb on the back – from the New York Times – tells me that “Stoner will take my breath away.” It didn’t. It didn’t make me care about the characters, who are one-dimensional stereotypes, seen only from the outside and seemingly lacking coherent motivatio