The Return of Don Quixote edition by G K Chesterton Literature Fiction eBooks
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The Return of Don Quixote tells the story of Michael Herne, a librarian at Seawood Abbey, an estate owned by Lord Seawood. When Lord Seawood's daughter and some of her friends want to put on a play called "Blondel the Troubadour," the librarian is asked to play the part of a medieval king. Herne not only takes his role seriously by thoroughly researching the Middle Ages, when the play is concluded, he refuses to take off the costume. He remains in character, much to the befuddlement and consternation of the other players. With this device, Chesterton achieves a wonderful effect in contrast to the typical snide modern commentary on the past he creates an opportunity for the past to offer a commentary on the present. Herne looks at his old clothes, that is, the modern clothes he once wore, with embarrassment. The modern world is embarrassing. It takes a previous age to see that. Newly designed and typeset by Waking Lion Press.
The Return of Don Quixote contains an interactive table of contents.
The Return of Don Quixote edition by G K Chesterton Literature Fiction eBooks
This was Chesterton's last novel, published 1926-7, ten years before his autobiography, published a few months before his death in 1936. However, the autobiography is relatively easy to read, and this novel, in my opinion, is not. Many readers find Chesterton's novels difficult, mostly because they're about a century old, but this one, his newest novel, as it were, is difficult for a different reason.This novel has none of the one-liners and bon mots GKC is so famous for. Nor does it have the engaging, lucid reasoning that enlivens non-fiction works like Orthodoxy. He said he had the idea and some notes for this novel sketched out before the war, even though it appeared later, but he seems to be doing something he nearly never did: addressing the Victorians or Edwardians, even as the form of that world was passing away, in their own language.
Their own language, their slang, jargon, style, and the need to embroider everything, their floweryness, is exactly what separates us from them and why we don't read most of them now. Chesterton was, at least sometimes, the exception to that rule, and remains very readable, given the few local references and current jokes which don't translate into our argot. Oddly enough, the autobiography remains almost transcendently clear, commenting on, but never bogged down in Victoriana.
However, countless writers have attested to the inspiration of GKC, among them Borges, Dorothy L. Sayers, and Charles Williams. This last especially so. The setting of the play in this novel cannot help but bring to mind Williams' Descent into Hell. Some of the interaction recalls All Hallows Eve. There's even a character named Rosamund in CW's first novel (though not the first published), Shadows of Ecstasy, as there is in this book. Many readers also find Williams difficult to read, but I would suggest that he, in some sense, modernizes what he gets from Chesterton for his own generation of readers.
Those reading all of Chesterton's novels will, of course, want to include this one on the list. Reviewers have pointed out that the theme echoes that of his first novel, The Napoleon of Notting Hill. What goes around comes around. But if the theme, not so the writing. Manalive, The Ball and the Cross, The Man Who Was Thursday, Four Faultless Felons, The Club of Queer Trades, The Flying Inn, and the Father Brown stories are all easier points of entry into Chesterton's fiction. Martin Gardner has provided annotated versions of Thursday and some Father Brown tales, but this is the book that really needs such helps.
That said, thanks to Boomer Books for reprinting it in such a beautiful and readable edition, and for rescuing this nearly lost novel, which has previously been available only in Volume Eight of the Collected Chesterton published by Ignatius Press. The president of the American Chesterton Society, Dale Ahlquist, somewhere goes into some depth about this book, I think in Chesterton 101. It remains for those in the current Chesterton revival to unpack the intriguing ideas in this book, and relate it to the GKC canon.
Every now and then the old lucidity reasserts itself, and the foundering reader is heartened to win through, with lines like this: " But the quaint and almost fabulous creatures called human souls do not always, or perhaps even often, do what is expected of them." Some human souls may, despite, or perhaps because of these warnings, persist in reading this book.
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The Return of Don Quixote edition by G K Chesterton Literature Fiction eBooks Reviews
Chesterton considered his novels good plots badly told. Still, all his plots resist retelling. Not possessing his talent to speak lightly and humbly of lofty matters, I'd rather tell no more. If you are to love Chesterton's books, you'll adore this one.
It would be hard to beat The Man Who Was Thursday, and this one doesn't. That said, it's still Chesterton, and he's still great.
A hard book to pin down; and an undeniably good read. Our Don is much more the Man of La Mancha than the object of Cervantez' pity. Worth your time if there's the least of Miniver Cheevy in your genes. Exquisitely written.
I love Chesterton. As as 21st Century American I some times struggle with Chesterton's early 20th century British allusions. I probably missed many levels in this book. Chesterton's analysis of human nature is masterful. He is right in his final conclusion as what humanity truly needs is right. I know the book was fiction. Part of me wishes it was true.
I really loved this book, better actually than the original.
I enjoyed it a lot. It's a zany tale, a romp really like so many of Chesterton's fictional works. For me it was a page turner and he manages to tie things up nicely at the end ... which rather surprised me.
This was Chesterton's last novel, published 1926-7, ten years before his autobiography, published a few months before his death in 1936. However, the autobiography is relatively easy to read, and this novel, in my opinion, is not. Many readers find Chesterton's novels difficult, mostly because they're about a century old, but this one, his newest novel, as it were, is difficult for a different reason.
This novel has none of the one-liners and bon mots GKC is so famous for. Nor does it have the engaging, lucid reasoning that enlivens non-fiction works like Orthodoxy. He said he had the idea and some notes for this novel sketched out before the war, even though it appeared later, but he seems to be doing something he nearly never did addressing the Victorians or Edwardians, even as the form of that world was passing away, in their own language.
Their own language, their slang, jargon, style, and the need to embroider everything, their floweryness, is exactly what separates us from them and why we don't read most of them now. Chesterton was, at least sometimes, the exception to that rule, and remains very readable, given the few local references and current jokes which don't translate into our argot. Oddly enough, the autobiography remains almost transcendently clear, commenting on, but never bogged down in Victoriana.
However, countless writers have attested to the inspiration of GKC, among them Borges, Dorothy L. Sayers, and Charles Williams. This last especially so. The setting of the play in this novel cannot help but bring to mind Williams' Descent into Hell. Some of the interaction recalls All Hallows Eve. There's even a character named Rosamund in CW's first novel (though not the first published), Shadows of Ecstasy, as there is in this book. Many readers also find Williams difficult to read, but I would suggest that he, in some sense, modernizes what he gets from Chesterton for his own generation of readers.
Those reading all of Chesterton's novels will, of course, want to include this one on the list. Reviewers have pointed out that the theme echoes that of his first novel, The Napoleon of Notting Hill. What goes around comes around. But if the theme, not so the writing. Manalive, The Ball and the Cross, The Man Who Was Thursday, Four Faultless Felons, The Club of Queer Trades, The Flying Inn, and the Father Brown stories are all easier points of entry into Chesterton's fiction. Martin Gardner has provided annotated versions of Thursday and some Father Brown tales, but this is the book that really needs such helps.
That said, thanks to Boomer Books for reprinting it in such a beautiful and readable edition, and for rescuing this nearly lost novel, which has previously been available only in Volume Eight of the Collected Chesterton published by Ignatius Press. The president of the American Chesterton Society, Dale Ahlquist, somewhere goes into some depth about this book, I think in Chesterton 101. It remains for those in the current Chesterton revival to unpack the intriguing ideas in this book, and relate it to the GKC canon.
Every now and then the old lucidity reasserts itself, and the foundering reader is heartened to win through, with lines like this " But the quaint and almost fabulous creatures called human souls do not always, or perhaps even often, do what is expected of them." Some human souls may, despite, or perhaps because of these warnings, persist in reading this book.
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