Warren's "All the King's Men": Using the Author's Guide to the Novel

1973 ◽  
Vol 62 (5) ◽  
pp. 704
Author(s):  
Allen Shepherd
Keyword(s):  
1987 ◽  
Vol 8 (1) ◽  
pp. 53
Author(s):  
Maria Lúcia Barbosa de Vasconcellos

This thesis is a study of the relationship between the narrating self and its enunciation in Robert Penn Warren's All the king's men. The concept of point of view is surveyed and discussed and the poetics of narrative is opposed to the poetics of drama, since All the king's men is a novelization of a play by the same author. It is argued that narrative prose allows for a temporal perspective and is thus the adequate genre for the portrayal of man trapped in the complex tensions of time, a major theme of the novel. The narrative discourse is then analyzed through the categories of time, mode and voice, with the narrator's hesitation being examined in terms of function at the linguistic level. Finally, the fragmented and specular pattern of the enunciation is investigated by examining the insertion of the Cass Mastern episode in the narrative. A concluding reflexion focuses on the other voices which permeate the narrator's discourse and confirm the fragmented configuration of the text.


2001 ◽  
Vol 95 (4) ◽  
pp. 811-828 ◽  
Author(s):  
Joseph H. Lane

Robert Penn Warren's All the King's Men is a political novel that deserves the serious study of political scientists interested in understanding the formative effects of American democracy. A careful reading of the novel that is informed by the classical approach to the analysis of regimes reveals the close connection between the politics of Willie Stark and the politics of modern American democracy. Furthermore, by viewing Stark's actions through the eyes of Jack Burden, a perceptive narrator who is moving toward self-knowledge, we can gain insight into both why modern democracies encourage the formation of a debilitating nihilism among their citizens and the prospects for countering these effects.


1972 ◽  
Vol 6 (3) ◽  
pp. 297-307
Author(s):  
R. Gray

Robert Penn Warren is a writer of extraordinarily diverse talents and interests. He is, among other things, one of the founders of the New Criticism, a poet and a poetic dramatist of national reputation (he won both the Pulitzer Prize and the National Book Award for his nineteen volumes of verse), and a gifted teacher. Above all, though, he is a writer whose moral and philosophical bias is towards the kind of historical specificity and social density which is perhaps the special preserve of the novel. This more than anything else accounts for the exceptional range and volume of his fictional writing and for the usual association of his name with one book in particular which is, by common consent, his finest achievement: All The King's Men, first published in 1946. Occasionally, a case has been made for the superiority of one of his other novels, and there have been one or two attempts to locate the centre of his work in the poetry. But these have been scattered, infrequent, and in the event, I think, unconvincing. All The King's Men remains his masterwork, and perhaps his most characteristic piece of fiction too, so that any assessment of Warren the imaginative writer has ultimately to focus upon it.


PMLA ◽  
1971 ◽  
Vol 86 (1) ◽  
pp. 84-89
Author(s):  
James C. Simmons

The brief scene in which Jack Burden observes the prefrontal lobectomy performed by his friend Adam Stanton is crucial to the novel's meaning, allowing Warren an opportunity to gather economically together most of the major themes of the novel. On one level Warren intends an analogy between Jack Burden and the anesthetized patient on the table who is in a very real sense Jack's double, a grotesque reflection of certain crucial aspects of his own character. And by forcing the confrontation, Warren achieves in a brilliant stroke a parody of portions of the novel's larger action, allowing himself the opportunity to recapture in symbolic form Jack's life and attitudes to date while simultaneously offering implicit criticism of that life and those attitudes. Warren further utilizes the scene to illuminate the meaning of Jack's flight West and the subsequent adoption of the mechanistic theory of the Great Twitch. In addition, the scene, by the nature of the operation, is a symbolic representation of the theme of division so pervasive throughout the book and may be viewed in retrospect as one step toward the resolution of this conflict.


2017 ◽  
Vol 8 (5) ◽  
pp. 145
Author(s):  
Bassam M. Al-Shraah

This paper aims to sketch out the transformation that Jack Burden—the main character in the novel—had gone through. With all the political leanings in Warren’s All the king’s Men, Jack burden seems to have had developed his own theories of dealing with life and people all through his life. He has always suffered an inferiority complex, rendering himself unworthy of being a real human being. This paper claims that Jack’s philosophical transformation has passed through three distinct phases; he had changed from a carefree idealist to a man of moral responsibility much similar to a Bildungsroman style of character maturation. Difficult times that Jack Burden has gone through caused his awakening at the end of the novel ushering his maturation


2010 ◽  
Vol 34 (8) ◽  
pp. S33-S33
Author(s):  
Wenchao Ou ◽  
Haifeng Chen ◽  
Yun Zhong ◽  
Benrong Liu ◽  
Keji Chen

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