The Private Memoirs and Confessions of a Justified Sinner Illustrated edition by James Hogg Chrysta Classics Literature Fiction eBooks
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The Private Memoirs and Confessions of a Justified Sinner, (Full title, The Private Memoirs and Confessions of a Justified Sinner Written by Himself With a detail of curious traditionary facts and other evidence by the editor) is a novel by the Scottish author James Hogg, published anonymously in 1824.
Considered by turns part-gothic novel, part-psychological mystery, part-metafiction, part-satire, part-case study of totalitarian thought, it can also be thought of as an early example of modern crime fiction in which the story is told, for the most part, from the point of view of its criminal anti-hero. The action of the novel is located in a historically definable Scotland with accurately observed settings, and simultaneously implies a pseudo-Christian world of angels, devils, and demonic possession.
The first edition sold very poorly and the novel suffered from a period of critical neglect, especially in the nineteenth century. However, since the latter part of the twentieth century it has won greater critical interest and attention. It was praised by André Gide in an introduction to the 1947 reissue and described by the critic Walter Allen as 'the most convincing representation of the power of evil in our literature'. It has also been seen as a study of religious fanaticism through its deeply critical portrait of the Calvinist concept of predestination. It is written in English, with some sections of Scots that appear in dialogue.
BONUS
• Biography of James Hogg.
The Private Memoirs and Confessions of a Justified Sinner Illustrated edition by James Hogg Chrysta Classics Literature Fiction eBooks
The "justified sinner" of the title is a Scottish Calvinist who becomes convinced that God has saved him and he can't be unsaved no matter what he does. A figure who is a literary version of a (or the) devil, plays on this religious fanaticism and lures him to commit crimes, including murder. The protagonist is emotionally and intellectually bullied into his crimes, and his personality undergoes steady disintegration up to his death. The chilling picture is all too relevant to the fanatical terrorists of our own age, and though presented as a critique of Calvinism, the story clearly glances at the fanaticism of the French Revolution. The penetrating psychological portrait of this perfectly horrible character moved by an icily logical dogmatism to extreme and vicious crimes is brilliant conducted. But that doesn't begin to convey the complexity and richness of the book. It is presented as a manuscript discovered on a corpse interred by a pair of curious misbehavers, and it is framed by the editor's account of the central figure, based on a few documents and local tradition. The contrasts between his account and the "justified sinner's" own first-person account is both fascinating and disturbing. At the end, the editor returns and there follows a really baffling array of metafictional games. The editor presents a letter by "James Hogg" telling about the disinterment, and he and a friend go off to investigate, encountering none other than James Hogg himself, who sourly says he wants nothing to do with the whole thing! There's more, but I can't recommend this book highly enough in our murderously dogmatic times. Earl Miller's Penguin edition is excellent, though Ian Duncan's introduction for his World's Classics edition is excellent. But frankly, I think Adrian Hunter's edition for Broadview is the best choice (it has an excellent introduction and good supplementary material by Hogg and contemporaries, and the footnotes are where they belong, at the foot of the page, not buried in the back of the book).Product details
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The Private Memoirs and Confessions of a Justified Sinner Illustrated edition by James Hogg Chrysta Classics Literature Fiction eBooks Reviews
Unexpected surprise. I was slow to gather all the facts. After becoming immersed in the delightful story line I figured that there was so much more fun to the family dynamics. I was highly suspicious of the policeman. BUT IT was an interesting and fun romp. This did come together and was a satisfying story. A little slow when jj entered the other side, but understandable given the time issue.
great mix of true and fantasy, and I loved the blend. Almost made me believe in the other world where time never passed.
I loved this book so much that I'm adding it to my syllabus for Horror and Fantasy this fall. Hope they enjoy it, too. The genre is ... well, it's hard to put a finger on. Doppelgangers, mysterious estates, cases of mistaken identity...or are they... this novel has all the great hallmarks of Gothic literature with a heaping dose of Scots language thrown in for your daily bit of culture and linguistics. Hogg was a creative guy, that's for sure. This book needs to get more attention outside the British Isles.
Three stars for the fist half and four stars for the second.
It took me a long while to get into this book, as the chapters (especially at the beginning) are very short, and it takes a long time for the story to really get going. Once it did, though, I enjoyed it.
The music between chapters was a nice touch, albeit one I probably would have appreciated more if I could have heard the music somehow (prime opportunity for the audiobook right there).
I also liked the way the book describes traditional music (I really want to go to a ceilidh now) and the way the speech patterns sounded authentically Irish.
I also want to note that I had a really hard time getting an angle on how old JJ was supposed to be. He seemed on the younger side, but then he was talking to his friend about going clubbing? So some confusion there. And the tone of the book is similarly ambiguous -- I'm not sure if it's the fairy-tale nature or what, but the book's not quite a MG but not quite a YA either. High Middle Grade, I suppose.
I remember a lot of buzz around this one when it came out, and I'm not sure that it was really all that, but it was a fun read.
The "justified sinner" of the title is a Scottish Calvinist who becomes convinced that God has saved him and he can't be unsaved no matter what he does. A figure who is a literary version of a (or the) devil, plays on this religious fanaticism and lures him to commit crimes, including murder. The protagonist is emotionally and intellectually bullied into his crimes, and his personality undergoes steady disintegration up to his death. The chilling picture is all too relevant to the fanatical terrorists of our own age, and though presented as a critique of Calvinism, the story clearly glances at the fanaticism of the French Revolution. The penetrating psychological portrait of this perfectly horrible character moved by an icily logical dogmatism to extreme and vicious crimes is brilliant conducted. But that doesn't begin to convey the complexity and richness of the book. It is presented as a manuscript discovered on a corpse interred by a pair of curious misbehavers, and it is framed by the editor's account of the central figure, based on a few documents and local tradition. The contrasts between his account and the "justified sinner's" own first-person account is both fascinating and disturbing. At the end, the editor returns and there follows a really baffling array of metafictional games. The editor presents a letter by "James Hogg" telling about the disinterment, and he and a friend go off to investigate, encountering none other than James Hogg himself, who sourly says he wants nothing to do with the whole thing! There's more, but I can't recommend this book highly enough in our murderously dogmatic times. Earl Miller's Penguin edition is excellent, though Ian Duncan's introduction for his World's Classics edition is excellent. But frankly, I think Adrian Hunter's edition for Broadview is the best choice (it has an excellent introduction and good supplementary material by Hogg and contemporaries, and the footnotes are where they belong, at the foot of the page, not buried in the back of the book).
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