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diff icult to qualify" [p. xiii]) . Nevertheless, her study is useful in two respects. She knowl-edgeably draws a t tent ion to the s t rengths of Lowry's minor f ic t ion, and, in digress ing f romher thesis, sketches the influence of specif ic f i lms on Under the Volcano a n d October Ferry.Even though the hypothes i s o f Grace ' s The Voyage That Never Ends is unp roven and isprobably unprovablethe au thor succeeds in opening out to fu l le r cons ide ra t ion the na tureof Lowry's achievement as an ar t is t .

Joseph MileckHERM ANN HESSE: LIFE, WO RK, AND CRITICISM(Authori ta t ive Studies in World Li tera ture)Freder ic ton , N.B. : York Press , 1984. Pp. 49 . $6 .95Reviewed by Adrian HsiaThe f i r s t react ion of a Hesse-scholar upon seeing another introductory booklet on Hermann Hesse may be the involuntary ques t ion: I s this necessary? However , this mixed feel ingwould so on dis ap pe ar af ter re ad ing a few pages . O ne has to adm it that Jo sep h Mileck is amaster of his craft . I t is not only that his booklet lef t no important details untold which is ,given th e limited spa ce, by itself a rema rka ble feat. I t is th e way he u nfold s th e b iog rap hyan d, especia l ly, the works of H er m an n Hesse that is t ruly impress ive . In spi te of its introd ucto rychara cter , even a season ed H esse-scholar would feel having learned som ethin g af ter re ad ingMileck ' s book. I t is indeed a piece of scholarship which a lso commands the a t tent ion of thereader . One may not agree with Mileck, one may feel the urge to argue with him on cer ta in

points of interpreta t ion, however , one would not regret having read this book.I t has f ive sections and opens with the biography of Hesse which is then followed by achronological l is t of Hesse ' s major works . The biography gives a good background to themost interesting section of the booklet: the matter and manner of Hesse's f iction. Mileckshows the dev elo pm en t of Hesse ' s centra l them e which is c losely re la ted to the inn er a ndouter events in Hesse's l ifethrough his major works: the story of a "sensitive misfit ." InHermann Lauscher (1901) Mileck a lready d iscerns the protagon is t as an emb ryon ic S teppenw olfwho made Hesse famous in the sixties and seventies. However, sti l l in Peter Camenzind (1904)Hesse ' s characters and set t ings "cont inue to be fe l t ra ther than seen" (p. 22) . Never theless hewas moving towards real ism, as Unterm Rad (1906) clearly shows. In this novel, Mileck pointsout , Hesse began to use the "double se lf -project ion" which "was to become a l i terary devicein all of Hesse's major works" (p. 23) . Traces of this device can actually be found even inPeter Camenzind which Hesse began in N ove mb er 1901 . While Hesse was def ini tely mov ingtowa rds real ist ic pro se , his wr i t ings rem ain ed a utob iograp hic an d his protag onis ts , to a varyingdegree, s t r ived to end being mere bystanders . In Rohalde (1913) the protagonis t f inds theme ans of being himself as "self -acceptance" and "self- real izat ion." How ever , H esse 's ch aractersnever actually reach this goal. The novels usually end after this has been rationally identif ied.

Wi th Demian (1919) Hesse entered a new stage of consciousness, as he realized "that tolive the self would of necessity involve prior emancipation from traditional religion andmoral i ty and the cul t ivat ion of a personal e thos" (p. 25) , as Mileck points out . Hesse becamemo re conc erned w i th concepts and mo re abs tr ac t. Consequen t ly , Dem ian and h i s mo ther a r e"actual ized concepts" and " the remaining personae are actual i ty c lear ly become concepts .Hence the protagonis t ' s breakthrough is more cerebral than real" (p. 27) . However , Hessebecame more conscious of the polar izat ion of the " innermost se lf and the "socia l ized selfin each individual . This he dramatized in Klein und Wagner (1919) and "fantasized" in Klingsorsletzter Sommer (1919) which Mileck aptly considers to be an "example of Hesse's intuitivelycontrolled ar tistry at i ts best" (p. 29) . In contrast, the following novel Siddhartha (1922) is ofconscious craf tsm ansh ip. Hesse kept the s t ructu re and ev en the style to a three-beat pulsat ion,he "even e xte nd ed his cus tom ary d ou ble se lf-project ion . . . to the actual self an d th ree possibilities" (p . 31 ). The hero is the only one of Hesse ' s protagonis ts who actual ly reach the s ta teof grace. Af ter Siddhartha, Hesse re ta in ed his conscious craf tsma nship. He used four com plementary pairs of por tra i ts to depict Hal ler and his age in Der Steppenwolf ( 1927) . Although

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this novel ends on a posi t ive note , i t s tops a t the moment when Hal ler is ready to resume thegame of l ife. In Narzi und Goldmund (1929) Hesse re turned to the double se lf -project ion. Asthe t r ipar t i te const i tutes the bas ic s t ructure of Siddhariha, dichotomy forms the founda t ion ofthe present novel , both in s t ructure and in s tyle . While Hesse endorses both approaches tol i fe , the reader may obtain the impress ion that Hesse favored Goldmund more. However ,one may also think that Hesse was t rying to depict the l imita t ion of each of both wor lds orpolarit ies.The bet ter works of Hesse were produced when he re l ived his personal cr ises (whichreflect the cr ises of his t ime) in his f iction. Autobiography forms in a varying degree thefoundation of his tales. In Die Morgenlandfahrt (1932) , Hesse again re turned to the newpersonal and general cr ises which he myst i f ied and metaphor ized in the "Bund" of thewayfarers to the East. Like Der Steppenwolf, the present ta le ends on a posi t ive note , but thes tory seems to be even more abs tract and conceptual ized than the older novel . This veinculminated in the Utopia of Das Glasperlenspiel (1943) , a l though Hesse re turned with i t to am ore na r r a t ive p lane . Aga in i t is an adm ixtu re of au tobiog raphy a nd fic tion, b u t m uch mo rebalanced th an ever before . H is concep tual ized vein seems to be con cen tra ted to the descr ipt ionof the glass bead game. In this last novel, he sums up his l ife, his age, and the "generative

thrus t behind a l l cul ture: the innate spir i tual impulse of man" (p. 37f . ) , as Mileck apt ly putsi t . With this prevalence of the innateness of cul ture , Hesse a lso t ranscended his personalcr ises and his urge to come to gr ips with them. Das Glasperlenspiel was the last novel Hessewrote .After the major section of his introductory booklet, Mileck shortly describes the receptionof Hesse in Germany and Nor th Amer ica , and concludes i t wi th a se lected, perhaps toosparsely annotated bibl iography. The usefulness of the booklet , however , wil l be determinedby the examinat ion of Hesse ' s f ic t ion which shows the thorough scholarship of Mileck. Thereis no oth er in trodu ct ion to Hesse which is so encom pass ing, concise , and to the point .

A. Robert Lee, ed .ERNEST HEMINGW AY: NEW CRITICAL ESSAYSNew York: Barn es and No ble , 1983. Pp . 216Reviewed by Raymond S. NelsonErnest Hemingway: New Critical Essays contains ten essays, four by American and six byEu rop ean cr it ics (most ly Br i t ish) . T h e po ints of view are , there fore , som ewh at dif ferent f rom

what one commonly hearsespecia l ly s ince the Hemingway manuscr ipts have been madeavai lable to scholars . None of these essays pretends to use manuscr ipt sources .David Seed, author of the f irst essay, "The Picture of the Whole: In Our Time," isolatesfour possible organizational devices for In Our Time, yet concludes that Hemingway focuseson " the pr imary data of exper ience" (p. 32) . Hemingway refuses to moral ize , says Seed;ins tead he r ender s human exper ience in e lementa l t e rms . Col in N icholson in "The Shor tStories After In Our Time" sees a pervasive purposelessness in human affairs in the laters tor ies, a wor ld in which peo ple refuse to think , in which people celeb rate physical exp er ien cein the here and now. Andrew Hook wr i tes in "Ar t and Life in The Sun Also Rises" t ha t "TheSun is a tr iumph of ar t on the side of l ife" (p. 63) . He concludes that Hemingway's style isthe dis t inct ive qual i ty that makes the book a masterpiece . Wil l iam Wassers trom, author of "A

Farewell to Arms: Radiance a t the Vanishing Point ," ra tes Farewell as "unpara l le led" and "alandmark tex t" (pp . 70 , 71 ). Like Andrew Hook, he c i tes Hemingway's s tyle as the supremeachievement .A. Rober t Le e, edi to r of the col lect ion, includes his own " 'Every thing C omp lete ly KnitU p ' : Seeing For W hom the Bell Tolls Whole." Lee ra ises the ques t ion whether there is a centra lfocus to For Whom the Bell Tolls, and he concludes that despite a few superf icial f laws, thenovel does indeed ha ng to get her very wel l. Ja m es Jus t us in "T he L ater F ic t ion: H eming wayand the Aesthet ics of Fai lure" discusses Hemingway's vis ion of a wor ld in which no one winsor can win. T h e bes t on e can do is to en du re courage ously. Er ic Mottram ("Essentia l His tory:Suicide and Nostalgia in Hemingway's Fictions") traces the motifs of nostalgia and suicide in

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