John fowles wife

(John Robert Fowles)

PERSONAL: Born March 31, 1926, in Leigh-on-Sea, Essex, England; died November 5, 2005, in Lyme Regis, Dorset, England; son of Robert John and Gladys May (Richards) Fowles; married Elizabeth Whitton, April 2, 1954 (died, 1990); married Sarah Smith, 1998. Education: Attended University of Edinburgh; New College, Oxford, B.A. (honors), 1950.

CAREER: Writer and educator. University of Poitiers, Poitiers, France, lecturer in English, 1950–51; Anargyrios and Korgialenios School of Spetses, Spetsai, Greece, teacher, 1951–52; Ashridge College, teacher, 1953–54; St. Godric's College, London, England, teacher, 1954–63. Military service: Royal Marines; became lieutenant.

AWARDS, HONORS: Silver Pen Award, English Centre of International PEN, W.H. Smith Literary Award, both 1970, for The French Lieutenant's Woman; honorary curator of Lyme Regis Museum, 1979–88; Christopher Award, 1982, for The Tree; The Magus was voted 'one of the nation's 100 best-loved novels' by the British public as part of the British Broadcasting Corporation's project The Big Read, 2003; honorary fellowships from Modern Language Association and New College, Oxford; Litt.D., University of East Anglia and Chapman University.

WRITINGS:

NOVELS

The Collector (also see below), Little, Brown (Boston, MA), 1963.

The Magus (also see below), Little, Brown (Boston, MA), 1966, revised edition, 1977.

The French Lieutenant's Woman (also see below), Little, Brown (Boston, MA), 1969.

Daniel Martin, Little, Brown (Boston, MA), 1977.

Mantissa, Little, Brown (Boston, MA), 1982.

A Maggot, Little, Brown (Boston, MA), 1985.

OTHER

The Aristos: A Self-Portrait in Ideas, Little, Brown (Boston, MA) 1964, 2nd revised edition published as The Aristos, Jonathan Cape (London, England), 1980.

(With Stanley Mann and John Kohn) The Collector (screenplay; based on Fowles's novel of the same title), Columbia Pictures, 1965.

The Magus (screenplay; based on Fowles's novel of the same title), Twentieth Century-Fox, 1969.

Poems, Ecco Press (New York, NY), 1973.

The Ebony Tower (short stories), Little, Brown (Boston, MA), 1974.

(Adaptor and translator) Charles Perrault, Cinderella, Jonathan Cape (London, England), 1974, Little, Brown (Boston, MA), 1976.

(Translator) Clairie de Dufort, Ourika (novel), W. Thomas Taylor (Austin, TX), 1977.

(Author of text) Islands (photograph collection), photographs by Fay Godwin, Little, Brown (Boston, MA), 1978.

(Author of text) The Tree (photograph collection), photographs by Frank Horvat, Little, Brown (Boston, MA), 1980.

The Enigma of Stonehenge, photographs by Barry Brukoff, Summit Books (New York, NY), 1980.

(Literary editor) John Aubrey, Monumenta Brittanica (nonfiction), Little, Brown (Boston, MA), Parts 1 and 2, 1980, Part 3 and Index, 1982.

A Short History of Lyme Regis, Little, Brown (Boston, MA), 1983.

(Editor and author of introduction) Thomas Hardy's England, Little, Brown (Boston, MA), 1985.

(Editor) Land (photograph collection), photographs by Fay Godwin, Little, Brown (Boston, MA), 1985.

Lyme Regis Camera, Little, Brown (Boston, MA), 1990.

(Translator, with Robert D. MacDonald and Christopher Hampton) Corneille, Landmarks of French Classical Drama, Heinemann (London, England), 1991.

Wormholes: Essays and Occasional Writings, Holt (New York, NY), 1998.

The Journals: Volume 1: 1949–1965, edited and with an introduction by Charles Drazin, Jonathan Cape (London, England), 2003, Alfred A. Knopf (New York, NY), 2005, Volume II, edited by Drazin, Jonathan Cape (London, England), 2005.

Shorter works include text for the photograph collection "Shipwreck," photographs by the Gibsons of Scilly, Jonathan Cape (London, England), 1974". Author of introduction, glossary, and appendix, Mehalah: A Story of the Salt Marshes, by Sabine Baring-Gould, Chatto & Windus (London, England), 1969; and The French Lieutenant's Woman: A Screenplay, by Harold Pinter (based on Fowles's novel of the same title), Little, Brown (Boston, MA), 1981; author of afterword, The Man Who Died: A Story, by David H. Lawrence, Ecco Press (New York, NY), 1994; contributor to several other books and anthologies, including Afterwords: Novelists on Their Novels, 1969, New Visions of Franz Kafka, 1974, and Britain: A World by Itself: Reflections on the Landscape by Eminent British Writers, 1984.

ADAPTATIONS: The Collector was made into a film in 1965, and adapted for the stage and produced in London at the King's Head Theatre in 1971; The French Lieutenant's Woman was made into a film in 1981; a version of Fowles's novella The Ebony Tower was broadcast on television in 1984.

SIDELIGHTS:John Fowles "is an enigma in broad daylight," commented critic Lance St. John Butler in The British and Irish Novel since 1960. "He is exceptionally open about his feelings and opinions, yet it is hard to be absolutely certain that one has understood his work or his position in post-1960s fiction." Fowles was a novelist first and foremost, but he also wrote short fiction, essays, poetry, commentaries on the world of letters, and translations. His novels earned for him a great deal of popularity among the reading public, especially outside his native England in America and France. As Ellen Pifer explained in the Dictionary of Literary Biography, "Fowles's success in the marketplace derives from his great skill as a storyteller. His fiction is rich in narrative suspense, romantic conflict, and erotic drama." Yet, as Pifer added, this popularity comes despite the fact that Fowles took an approach to his writing that was most often appreciated in literary circles. "Remarkably," she wrote, "he manages to sustain such effects at the same time that, as an experimental writer testing conventional assumptions about reality, he examines and parodies the traditional devices of storytelling."

Fowles's interest in exploring and challenging the traditional devices of storytelling goes hand in hand with his primary thematic concern: freedom. The concept of freedom played a significant role throughout much of Fowles's writing career. Not only did Fowles refuse to be put into a "cage labeled 'novelist,'" as he stated in The Aristos: A Self-Portrait in Ideas, but he also rejected any label limiting him to a particular kind of writing. Known primarily as a novelist, Fowles seemed to write every possible kind of novel, as well as works of poetry and short fiction. An overview of Fowles's diverse writings helps to explain this characteristic and why it leaves some readers and reviewers perplexed. Many who enjoyed The Collector, a thriller and Fowles's first published novel, were subsequently puzzled when The Magus departed from its pattern. Unlike the tight and compact form of the thriller, The Magus spreads to the length of an "apprentice novel," a form which, like Charles Dickens's Great Expectations, usually follows the chronology of a youth's development. The French Lieutenant's Woman, a historical novel set in the 1860s, overtly guides readers into Fowles's method of transforming and recreating established forms for a new era. The Ebony Tower is unique, for it contains short works that are connected thematically to each other and to several of Fowles's earlier books. Mantissa represents a parody of the literary theories of the post-structuralists. And A Maggot is another historical novel, but it is also a sort of detective story that raises questions about our ability to discern the truth of events by reconstructing them from human accounts.

Despite the variety of forms that he employed, Fowles remained true to his concern with freedom. He pursued the question of whether a human being can act independently from the psychological and social pressures of his/her environment. While this is not his only theme, he wrote in his nonfiction manifesto, The Aristos, that the very "terms of existence encourage us to change, to evolve" if we are to be free; and thus the theme provides a unifying thread throughout much of his work.

Fowles's first published work, The Collector, deals with freedom on a variety of levels. Fred Clegg, a lower-class clerk who has won a fortune in a football pool, buys an isolated house and rigs up a basement room as a secret cell for Miranda, a twenty-year-old, upper-middle-class scholarship art student, whom he has kidnapped. The situation allows Fowles to examine how two types of people and their views of freedom and authority play out in contemporary society. As Susana Onega explained in Form and Meaning in the Novels of John Fowles, "The collector is the least imaginative of men, for in order to exist he must tangibly possess the objects that obsess him, while the creator rejects this material reality and uses his imagination to create his own subjective alternatives to it." Fowles allows each of these points of view to give an account of the kidnapping by dividing the book into two halves. Onega reported, "In The Collector, John Fowles offers us two complementary versions of the events—Frederick Clegg's 'objective' first-person account counterbalanced and undermined by Miranda's much more literary version recorded in her diary."

The action of the novel consists of the working out of two lines of freedom, both based on Miranda's response to Clegg's imposition of his illegitimate authority over her, which she terms "the hateful tyranny of weak people." One line of freedom is Miranda's tentative, temporary, or pretended acceptance of the imposed authority that wins her small degrees of freedom within the limited boundaries that Clegg will permit. The second line consists of Miranda's successive attempts to escape Clegg's control altogether, a struggle that takes on societal and universal human dimensions as the novel progresses. In this struggle, Miranda's diary takes on special significance, one that alludes to Fowles's view of the artist's work. "In The Collector, Miranda intuits that it is possible to destroy her awful reality by striving to create a fictional alternative to it with her diary," suggested Onega. In the end, however, Miranda dies. She catches pneumonia because of the poor conditions in her basement prison, and Clegg refuses to take action.

While the imprisonment of a young woman in a locked room dramatizes lost freedom in The Collector, Fowles deals with the issue more subtly and ironically in The Magus. Nicholas, a young, well-educated Englishman, is an English teacher at a private boys' school on the Greek island of Phraxos. He makes the acquaintance of Conchis, a local wealthy villa owner who has set out to create his own world. This creation includes a "god-game," a series of dramas in which Nicholas and others in Conchis's circle serve as living actors. Fowles and Conchis contrive for Nicolas a trial to learn that freedom in a world of psychological and societal influences requires self-knowledge. Although Nicholas has embraced the concepts of existentialism precisely because of their emphasis on the possibility of knowing one's self and acting authentically upon such knowledge, Fowles demonstrates how the character, in fact, uses them as an almost ironclad defense against self-knowledge.

The French Lieutenant's Woman again addresses the issues of freedom starkly dramatized in The Collector and more developed in The Magus. While Fowles again depicts characters struggling for physical and psychic liberation, he places them in the restrictive atmosphere of Victorian England. Here Charles Smithson, engaged to Ernestina Freeman, becomes entranced by another woman, Sarah Woodruff, the object of rumors of a failed affair with a French lieutenant. In playing out the story of Charles's growing obsession, Fowles desires to see his characters freed, not only from society but also from his own control of them as author; thus the composing process becomes part of the novel's subject. And finally, Fowles liberates even himself from the limitations of the novel form; he devises separate endings for the novel, making the reader his implied consultant on the creation of the book. In this way, as Pifer pointed out in the Dictionary of Literary Biography, Fowles creates in The French Lieutenant's Woman "a remarkable evocation of the historical and social matrix of the Victorian age … [that] is also a parody of the conventions, and underlying assumptions, that operate within the Victorian novel."

By giving characters their freedom, Fowles also liberates himself from the tyranny of the rigid plan; but there remains a more basic limitation of fiction, and from this Fowles frees himself by means of his double ending. "The novelist is still a god," Fowles wrote in The French Lieutenant's Woman, "since he creates (and not even the most aleatory avant-garde modern novel has managed to extirpate its author completely); what has changed is that we are no longer the gods of the Victorian image, omniscient and decreeing; but in the new theological image, with freedom our first principle, not authority." Thus, although the novel seems in many ways a Victorian novel, the author reminds the reader that it is not; it is actually a novel of our time, with "this self-consciousness about the processes of art [that] is a hallmark of much twentieth-century fiction."

Fowles said in a personal note set in the middle of The Ebony Tower that he "meant to suggest variations on both certain themes in previous books of mine and in methods of narrative presentation." Themes and narrative methods combine to weave an intricate pattern of connection, not only with earlier works but among the novella, the three short stories, and the translation of a Celtic medieval romance that make up this collection. This translation, of Marie de France's Eliduc, is crucial to the connectedness of these short works. "By including his prose translation of this romance among the original stories collected in this volume," observed Pifer, "Fowles encourages his readers to look for thematic correspondences and common motifs. He thus continues to provoke the reader's interest in the literary process as well as in the product."

In the title work, a novella, Fowles follows the character of David Williams, a minor British abstract painter and art critic. For a contribution to an upcoming art book, David is assigned an interview with one of the leading British painters of an earlier generation. Henry Breasley, now in his seventies, has long lived in Brittany, France, in self-imposed exile. As the story unfolds, the elder artist challenges the younger, accusing him and his contemporaries of isolating themselves in an ebony tower. "A modern variant of the traditional 'ivory tower' idealism," Pifer explained, "the ebony tower signifies the contemporary artist's retreat from reality. Obscurity and cool detachment mask his fear of self-exposure and his failure to engage with life's vital mysteries." David is offered the opportunity to make changes, but he fails to do so. As Carol M. Barnum noted in The Fiction of John Fowles: A Myth for Our Time, "David has spent his life avoiding the challenge, living comfortably but superficially. When he finds himself faced with the dark tower of his existence, he cannot rise to meet it."

Returning to the novel format, Fowles published Daniel Martin. "This novel is patterned on the quest motif, the main character's search for an authentic self," Pifer wrote. Specifically, the title character is a relatively successful screenwriter who is not satisfied with the life that he has made. As a result, he contemplates writing a novel about his own life, and in the writing, recreating himself. "Unlike Fowles's previous novels," suggested Pifer, "this one does not proceed with rapid forward momentum, catching the reader up in its ingenious twists and turns." Even so, assured the critic, "Daniel Martin is not simply nor unartfully constructed; its design is extremely complex." As Jacqueline Costello explained in University of Hartford Studies in Literature, in this novel, "Fowles analyzes the ways in which fiction can restrict or expand our ideas, our relationships, and our beings as he explores the extent to which one can write and revise one's life. His juxtaposition of the then and now, the real and reported, the narrator's first and third persons, discovers a realm in which fiction and reality, author and character, past, present, and future are no longer limited by clear distinctions."

In setting up these juxtapositions, Fowles offers Daniel Martin the opportunity to recognize his own as well as his generation's failings, mainly selfishness. In this recognition, "Fowles appears more concerned than ever before with the relationship of the individual to his society, and with the necessary balance between personal freedom and social restraint," Pifer pointed out. In the end, Costello found, "Daniel Martin assumes the moral shape of the epic romance as it replays the protagonist's return to domesticity, community, and culture after travel and trial, after quelling id and confronting neurosis." Thus, concluded Pifer, "At the end of Daniel Martin, the protagonist finds himself … poised on the brink of a possible new life, the "chance of a new existence.""

In Mantissa, Fowles draws the reader into a story about a writer who is suffering from amnesia, and his doctor, who offers her brand of sexual therapy as a cure. Yet, as is always the case with Fowles, there is more here than immediately meets the eye, issues of freedom and the writer's role. As Raymond J. Wilson III commented in Twentieth-Century Literature, this novel is a complex work that folds an allegory about writing into a parody of one particular philosophy of writing. Wilson suggested that Fowles has essentially called the bluff of post-structuralists such as Roland Barthes, Jacques Derrida, and Jacques Lacan. In other words, asked Wilson, "What would a novel look like if the post-structuralists are right? John Fowles's answer: If they are right, a novel will look like Mantissa." Wilson continued, "Drawing primarily from Roland Barthes but also from Jacques Derrida and Jacques Lacan, Fowles ridicules the sexual theory of the text while simultaneously transforming it into an interesting and plausible allegorical expression of the creative process." Contrary to what the post-structuralists argue, that the author does not exist or is at best inconsequential, Fowles demonstrates through the union of the amnesic author and his muse doctor that this view is absurd and that he, John Fowles, does exist and does control the text. "When Fowles parodies our modern philosophers in Mantissa, he transcends parody by re-crafting the post-structuralist sexual theory of the text into his own demonstrated sexual allegory of the creative process," reiterated Wilson.

In A Maggot Fowles turns his attention to the eighteenth century in much the same way as he had ex-plored the nineteenth century in The French Lieutenant's Woman. The two novels share a number of similarities. Frederick M. Holmes outlined the similarities in a Contemporary Literature review. "Both are unconventional historical novels which bring an explicitly modern authorial consciousness to bear on the past rather than pretending to be of the historical period during which the action takes place." Furthermore, Holmes observed, "A Maggot features both segments of narrative in the manner of a realistic novel … and the discursive reflections of a self-consciously literary narrator." However, Fowles employs several new devices to draw readers into the eighteenth-century world he is creating and to distract them from the fact that it is a creation. A Maggot "incorporates other kinds of documents, some of which Fowles has taken from authentic, eighteenth-century sources and some of which he has composed to masquerade as eighteenth-century texts," Holmes explained.

The novel is centered on the disappearance of Mr. Bartholomew and the efforts of the barrister Henry Ayscough to reconstruct the events of his disappearance. In the course of his investigation, the rational Ayscough must face the intuitive, artistic Rebecca, who may have witnessed the events in question. Because she has offered two different accounts of the trip to a cave in rural England from which Bartholomew never returned, and though both versions seem unreliable, Ayscough's efforts to recreate the past only muddle it more. "Like the majority of Fowles's fiction, [A Maggot] suggests that to impose finality on narratives is to falsify the existential uncertainty which is an inescapable part of being alive," wrote Holmes.

A Maggot was Fowles's last novel. As he confided to Washington Post Book World contributor David Streitfeld, "the idea of writing yet another story suddenly seems rather boring." Instead, Fowles became increasingly interested in poetry. "I hope to write a book-length attempt at various poems," he told Streitfeld. "I think when you get old, suddenly poetry becomes more real, more important."

The major philosophical and literary concerns of Fowles's career are presented in Wormholes, a miscellany of several decades' worth of essays and occasional writings. These are grouped as autobiographical writings, pieces on culture and society, essays on literature and criticism, reflections on nature, and "An Interview." Critics appreciated the book's liveliness and originality. In the New York Times Book Review, Roger Kimball hailed the volume as "various, quirkily learned, beguiling, opinionated and, in parts, as sumptuously written as Fowles's fiction." Christopher Lehmann-Haupt, in the New York Times, especially welcomed Fowles's comments on writing and literature, as well as his travel writing about France and Greece. Though the critic disliked the occasional bouts of over-seriousness in the book, he considered it, in general, to be "a useful and stimulating tour through nature, literature and the art of the novel."

Nearly twenty years after the publication of A Maggot, Fowles reappeared on the literary scene, through the editorial efforts of Charles Drazin, with the first of two volumes of the novelist's journals. The Journals: Volume 1: 1949–1965, describe Fowles's youthful adventures in France and Greece, his emergence from obscurity at nearly forty years of age with the publication of The Collector, and the ensuing fame that threatened to overwhelm him, ending with the author's retreat circa 1969 to the peace and quiet of Lyme Regis, where he remained until his death. Some critics expressed pleasant surprise at the news that Fowles had published a "remarkably detailed, analytical" documentation of a relatively private life, as Donna Seaman noted in her Booklist review. She recommended Fowles's journal as a "fascinating … story of his evolution as a writer." Contemporary Review contributor Geoffrey Heptonstall counted the journal among the best of Fowles's literary accomplishments. "Private thoughts made public," he observed, can surprise the unsuspecting reader, "but the intemperate frankness here revealed is a necessary prelude to the singularly enriching clarity of perception." A second volume of The Journals was published in 2005.

Fowles's refusal to limit himself opened his work to much of life. He sifted elements of culture, art, and historical experience into such familiar structures as the thriller, the adolescent-learning novel, the historical novel, the book of short fiction, and the mainstream modernist novel. He re-created and made these forms his own, mixing his insight about human beings and life into the transformed structures. Literature and myth enter through the many allusions that he made central to the movement of the novels. Finally, while many of Fowles's novels make significant social comments and provide insights into human character, his variety of forms open continual opportunities for new possibilities. Such diversity, although presenting the reader with difficulties of adjustment from novel to novel, supplies evidence that Fowles pushed ahead, activated by his own major theme: the drive for freedom. For this reason, Pifer concluded in the Dictionary of Literary Biography, "Fowles has indeed proved himself a dynamic rather than a static artist. Generations of readers will doubtless continue to be enlightened as well as entertained by his fiction."

Fowles died at his home in Lyme Regis, England on November 5, 2005, after a prolonged period of illness.

BIOGRAPHICAL AND CRITICAL SOURCES:

BOOKS

Acheson, James, editor, The British and Irish Novel since 1960, Macmillan Academic (London, England), 1991.

Acheson, James, John Fowles, St. Martin's Press (New York, NY), 1998.

Conradi, Peter, John Fowles, Methuen (London, England), 1982.

Contemporary Fiction in America and England, 1950–1970, Thomson Gale (Detroit, MI), 1976.

Contemporary Literary Criticism, Thomson Gale (Detroit, MI), Volume 1, 1973, Volume 2, 1974, Volume 3, 1975, Volume 4, 1975, Volume 6, 1976, Volume 9, 1978, Volume 10, 1979, Volume 15, 1980, Volume 33, 1985, Volume 87, 1995.

Contemporary Novelists, 6th edition, St. James Press (Detroit, MI), 1996.

Dictionary of Literary Biography, Thomson Gale (Detroit, MI), Volume 14: British Novelists since 1960, 1983, Volume 139: British Short-Fiction Writers, 1994.

Fawkner, H. W., The Timescapes of John Fowles, Fairleigh Dickinson University Press (East Brunswick, NJ), 1984.

The Fiction of John Fowles: A Myth for Our Time, Pen-kevill Publishing (Greenwood, FL), 1988.

Fowles, John, The Aristos: A Self-Portrait in Ideas, Little, Brown (Boston, MA) 1964, 2nd revised edition published as Aristos, J. Cape (London, England), 1980.

Fowles, John, The French Lieutenant's Woman, Little, Brown (Boston, MA), 1969.

Fowles, John,The Ebony Tower, Little, Brown (Boston, MA), 1974.

Fowles, John, The Journals: Volume 1: 1949–1965, Jonathan Cape (London, England), 2003.

Hayman, Ronald, The Novel Today, 1967–75, Longman (New York, NY), 1976.

Higdon, David L., Time and English Fiction, Macmillan (New York, NY), 1977.

Huffaker, Robert, John Fowles, Twayne (Boston, MA), 1980.

Loveday, Simon, The Romances of John Fowles, St. Martin's (New York, NY), 1985.

McSweeney, Kerry, Four Contemporary Novelists, McGill-Queen's University Press (Montreal, Quebec, Canada), 1983.

Newquist, Roy, Counterpoint, Simon & Schuster (New York, NY), 1964.

Olshen, Barry, John Fowles, Ungar (New York, NY), 1978.

Olshen, Barry, and Toni Olshen, John Fowles: A Reference Guide, G.K. Hall (Boston, MA), 1980.

Onega, Susan,Form and Meaning in the Novels of John Fowles, UMI Research Press (Ann Arbor, MI), 1989.

Palmer, William J., The Fiction of John Fowles: Tradition, Art, and the Loneliness of Selfhood, University of Missouri Press (Columbia, MO), 1974.

Runyon, Randolph, Fowles/Irving/Barthes: Canonical Variations on an Apocryphal Theme, Ohio State University Press (Columbus, OH), 1981.

Salami, Mahmoud, John Fowles's Fiction and the Poetics of Postmodernism, Associated University Presses (Cranbury, NJ), 1992.

Shaw, Philip, and Peter Stockwell, editors, Subjectivity and Literature from the Romantics to the Present Day, Pinter Publishers (London, England), 1991.

Tarbox, Katherine,The Art of John Fowles, University of Georgia Press (Athens, GA), 1998.

Vipond, Dianne L., editor, Conversations with John Fowles, University Press of Mississippi (Jackson, MS), 1999.

Warburton, Eileen, John Fowles: A Life In Two Worlds, Viking (New York, NY), 2004.

Weber, Brom, editor, Sense and Sensibility in Twentieth-Century Writing, Southern Illinois University Press (Carbondale, IL), 1970.

Wolfe, Peter, John Fowles: Magus and Moralist, Bucknell University Press (Cranbury, NJ), 1976, revised edition, 1979.

Woodcock, Bruce, Male Mythologies: John Fowles and Masculinity, Barnes & Noble (New York, NY), 1984.

PERIODICALS

Booklist, May 1, 2005, Donna Seaman, review of The Journals, p. 1560.

Contemporary Literature, summer, 1986, Frederick M. Holmes, review of A Maggot, p. 160.

Contemporary Review, May, 1996, p. 262; April, 2004, Geoffrey Heptonstall, review of The Journals, p. 246.

New York Times, May 11, 1998, Christopher Lehmann-Haupt, review of Wormholes: Essays and Occasional Writings.

New York Times Book Review, May 31, 1998, Roger Kimball, review of Wormholes.

Publishers Weekly, March 28, 2005, review of The Journals, p. 67.

TwentiethCentury Literature, Volume 28, 1982, Raymond J. Wilson III, review of Mantissa.

University of Hartford Studies in Literature, Volume 22, number 1, 1990, article by Jacqueline Costello, p. 31.

Washington Post Book World, May 31, 1998, David Streitfeld, interview, p. X15.

OBITUARIES:

PERIODICALS

New York Times, November 8, 2005.