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G. K. Chesterton (1874–1936)

Teoksen Mies joka oli Torstaina : painajainen tekijä

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About the Author

Gilbert Keith Chesterton was born in London, England, in 1874. He began his education at St Paul's School, and later went on to study art at the Slade School, and literature at University College in London. Chesterton wrote a great deal of poetry, as well as works of social and literary criticism. näytä lisää Among his most notable books are The Man Who Was Thursday, a metaphysical thriller, and The Everlasting Man, a history of humankind's spiritual progress. After Chesterton converted to Catholicism in 1922, he wrote mainly on religious topics. Chesterton is most known for creating the famous priest-detective character Father Brown, who first appeared in "The Innocence of Father Brown." Chesterton died in 1936 at the age of 62. (Bowker Author Biography) näytä vähemmän

Sisältää nimet: G Chesterton, GC Chesterton, chesterton g., C K Chesteron, Chesteron G K, G.K. Chesteton, G.K.Chesterton, G. K. Cheserton, G.K. Chesterson, G.H. Chesterton, C.K. Chesterton, G. F. Chesterton, G. K. Chasterton, K. G. Chesterton, G. K. Chesterton, G. K. Chesterton, G. K. Chesterton, G. K. Chesterton, G K] [Chesterton, Chesterton G. K., G. K. Chesterton, G. K. Chessterton, G. K. Čestertons, Gilbert Chesterton, GILBERT CHESTERTON,, M. G. K. Chesterton, K. Gilbert Chesterson, Chesterton K. Gilbert, Gilbert K. Chesterton, Gilbert G. Chesterton, Gilbert K. Chesterton, Chesterton Gilbert K., K. Gilbert Chesterton, GILBERTH K. CHESTERTON, Gilbert Kii CHesterton, G K ChesG K Chesterton, GILBERT AND CHESTERTON, Gilbert Keith Chesteron, G. K. Keith. Chesterton, Gildert Keith Chesterton, Gilbert Keith Chesterton, Keith Gilbert Chesterton, Chesterton Gilbert Keith, Gilbert Keith Chesterton, Gilbert Ketih Chesterton, Gilberth Keith Chesterton, Г.К. Честертон, Chesterton Gillbert Keith, Г. К. Честертон, G・K・チェスタトン, G. K. Chesterton Introdution, Chesterton Gilbert Chesterton, Chesterton G. K; Kenneth Baker, G.K. Introduction by) Chesterton, Гилберт Честертон, Chesterton G. K. (Gilbert Ke 1874-1936, Gilbert K. Chesterton G. K. Chesterton, Chesterton G. K. (Gilbert Ke 1874-1936, Гилберт Кит Честертон, Гилберт Кийт Че?тертон, Gilbert Keith G. K.; Chesterton Chesterton, Гилберт Кийт Честертон, Hale Sebnem Kaptan Gilbert Keith Chesterton, Auberon Waugh (Preface) G.K. Chesterton (Author), G.K. (Gilbert Keith) Chesterton, 1874-1936, et al, Гилберт (Gilbert) Кит (Kit) Честертон (Chesterton)

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Yleistieto

Kanoninen nimi
Chesterton, G.K.
Virallinen nimi
Chesterton, Gilbert Keith
Muut nimet
Chesterton, Gilbert K.
Syntymäaika
1874-05-29
Kuolinaika
1936-06-14
Hautapaikka
Shepherd's Lane, Beaconsfield, Buckinghamshire, England, UK
Sukupuoli
male
Kansalaisuus
England
Maa (karttaa varten)
England, UK
Syntymäpaikka
Kensington, London, England, UK
Kuolinpaikka
Beaconsfield, Buckinghamshire, England, UK
Kuolinsyy
congestive heart failure
Asuinpaikat
London, England, UK
Koulutus
Slade School of Art
St. Paul's School, London, England, UK
Ammatit
journalist
short-story writer
lay theologian
poet
philosopher
orator (näytä kaikki 9)
critic
biographer
Christian apologist
Suhteet
Chesterton, Cecil (brother)
Jones, Ada Elizabeth (sister-in-law)
Chesterton, A. K. (cousin)
Organisaatiot
The Detection Club
Roman Catholic Church
Palkinnot ja kunnianosoitukset
Order of St Gregory the Great
Episcopal Church USA observes June 13 as a provisional feast day
Lyhyt elämäkerta
G K Chesterton has been described as one of the most unjustly neglected writers of our time. Born in 1874 -when Kensington still formed part of Middlesex-, he became a journalist and later began writing books and pamphlets. His work includes novels, literary and social criticism, political papers and spiritual essays in a style characterised by enormous wit, paradox, humility and wonder. He converted to Catholicism in 1922 and he explores the nature of spirituality in many of his books and essays, including the mighty Orthodoxy.

Chesterton created the fictional priest-detective Father Brown, and wrote on apologetics. Even some of those who disagree with him have recognised the wide appeal of such works as Orthodoxy and The Everlasting Man. Chesterton routinely referred to himself as an "orthodox" Christian, and came to identify this position more and more with Catholicism, eventually converting to Catholicism from High Church Anglicanism. Biographers have identified him as a successor to such Victorian authors as Matthew Arnold, Thomas Carlyle, Cardinal John Henry Newman, and John Ruskin. On his contributions, T. S. Eliot wrote,

He was importantly and consistently on the side of the angels. Behind the Johnsonian fancy-dress, so reassuring to the British public, he concealed the most serious and revolutionary designs—concealing them by exposure ... Chesterton's social and economic ideas...were fundamentally Christian and Catholic. He did more, I think, than any man of his time—and was able to do more than anyone else, because of his particular background, development and abilities as a public performer—to maintain the existence of the important minority in the modern world. He leaves behind a permanent claim upon our loyalty, to see that the work that he did in his time is continued in ours.

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Terrific book. Whimsical, satirical, philosophical and just a little dark. To be honest, I was expecting it to be considerably darker, but Chesterton mixes up humour and philosophy so well it still retains a serious edge. It clearly hales from a time when anarchistic nihilism was the bête du jour - nowadays materialism seems to have beaten back the anarchists, and religious/political fundamentalism has taken its place (with probably a touch less whimsy).

Perhaps bizarrely, it reminded me a bit of The Magus. But much shorter, much more fun, and better written and - as a result of all those - more rewarding.… (lisätietoja)
1 ääni
Merkitty asiattomaksi
thisisstephenbetts | 165 muuta kirja-arvostelua | Nov 25, 2023 |
Has its moments. Sometimes Chesterton says interesting things but i didn't really understand a lot of his "philosophy" stuff. Maybe I'm not conservative Christian enough, i dunno. In general the book is alright, not super exciting but interesting enough throughout. the dialogue can be a bit ridiculous at times although i guess that's the point because the people speaking are ridiculous. The ending is surprisingly melancholy and the last chapter is mostly obtuse to me but maybe I'm just being stupid

Below this is all me rambling incoherently I don't really know what I mean

i mean, it's weird because the implication seems to be that manufactured patriotism and nationalism that leads to war and death is good because it reinvigorates people (which is obviously kind of fascist) but i think that's mostly an uncharitable interpretation of mine - hopefully the ending is intended to show that empires fall because they oppress people and the conflicts would stop. but i don't know

Like I mean I guess I'm not 100% sure what his "point" was because although he's sometimes clear about it the plot confuses things (and I feel it's fair to take the "point" pretty seriously because without the somewhat philosophical stuff the plot is kind of dull). I mean some stuff is clear - Wayne's speeches, especially the one at the end about holding on to things, are pretty decent defences of a sort of Little Englander conservative mindset. But like, the book ends with London divided into a load of petty 'patriotic' fiefdoms, just overthrowing the rule of a single one of them for an uncertain future. Is this positive? The book seems to suggest so. Chesterton seems to like the idea of all the different mini cities because they break the dull hegemony yet it's not clear in what way life in the cities would actually be different, so war is the only obvious change. The early scenes with the president of Nicaragua talk about the benefits of particularism with the knowledge each unique group has but it doesn't really show through when it comes to the cities. The opening of the book indicates the "end of war" is based on war (see the destruction of Nicaragua) yet he doesn't take that path and instead goes on about things being "dreary" etc. Like I feel it's clear that it's more about the romanticism aspect but the war thing is inseparable and it's strange.

It's also weird that he's seemingly critical of the "rotating despotism" thing but then makes it the system for each mini city and doesn't criticise it any more. And the suggestion that in a way this created patriotism is "natural" because people get attached to where they live even though only one person took it up and it required someone making a "joke" for it to be started. And then apparently everyone taking it up because Notting Hill had a minor victory. I realise that this is sort of plot convenience and skipping out a lot of boring stuff but it does feel kind of contradictory and confusing. Like, I'm not looking for some ridiculous alt history ~saga~, just for the out of plot commentary and the plot itself to sync up a little. The speech Wayne gives about not letting Notting Hill become an empire is interesting although hard to really understand in the context of the plot (it also reflects the strange attitude the book has to people other the named figures - they're specifically said to behave to spite people with bold ideas about how they should behave and yet they follow Wayne, get completely into his system, and only THEN ignore what he says to do a bad thing) And the last chapter which is sort of about a combination between humorous frivolity and serious change (or something, can't put it into words right) is pretty confusing - especially mixed with the (genuinely pretty funny) prologue about London staying the same in the future and people avoiding changing in the ways people prophesise. Is change bad when it's laid out by people prophesising the future and good when people make up stuff on the spot? I dunno. Chesterton says "It is of the new things that men tire--of fashions and proposals and improvements and change. ... It is the old things that are young." and yet is apparently totally behind the strange division of London. Is it because it's patriotism, an old thing, rather than actually a new thing? It's hard to explain exactly but the way the narration extolled old things while the plot extolled a new thing was a strange dissonance. Oh, and as someone else noted, no women characters at all! Not surprising but still.


I feel I'm both overthinking irrelevant things and completely missing the obvious and have awful reading comprehension so it's fair to accuse me of those things. Just trying to articulate my very confused thoughts about it. Maybe in the future I'd come back to it and like it more or at the very least have a more coherent criticism of it.
… (lisätietoja)
 
Merkitty asiattomaksi
tombomp | 15 muuta kirja-arvostelua | Oct 31, 2023 |
I was surprised by how entertaining and well written these six stories, all written over a century ago, hold up despite what to contemporary fashions seems at times florid writing.
 
Merkitty asiattomaksi
nmele | 9 muuta kirja-arvostelua | Oct 11, 2023 |
Two thirds shorter and my dominant thought might have been "inspired" rather than "why am I suffering through this?"
 
Merkitty asiattomaksi
emmby | 165 muuta kirja-arvostelua | Oct 4, 2023 |

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Edgar Wallace Contributor
Dorothy L. Sayers Contributor
Hilaire Belloc Contributor, Foreword
Reginald Blunt Contributor
Henry Browne Contributor
Bede Jarrett Contributor
R. W. Chambers Introduction
Ian Boyd Editor
Martin Gardner Editor, Introduction
Kingsley Amis Editor, Introduction
Agita Lūse Translator
Robert Browning Featured Artist
James V. Schall Introduction
E. C. Bentley Contributor, Introduction
Gavin Holt Contributor
Mrs. Henry Wood Contributor
Selwyn Jepson Contributor
Milward Kennedy Contributor
Frank King Contributor
F. A. Kummer Contributor
Mark Twain Contributor
G. R. Malloch Contributor
Herbert Shaw Contributor
Henry Wade Contributor
Alan Melville Contributor
Eden Phillpotts Contributor
Edgar Allen Poe Contributor
H. S. Harrison Contributor
W. F. Harvey Contributor
Antony Marsden Contributor
J. J. Bell Contributor
Earl Derr Biggers Contributor
Ernest Bramah Contributor
Thomas Burke Contributor
Christopher Bush Contributor
H C. Bailey Contributor
Agatha Christie Contributor
J. D. Beresford Contributor
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J. S. Fletcher Contributor
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Gilbert Frankau Contributor
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John Guest Editor
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Lin Carter Introduction
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Alfonso Reyes Translator
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Walter Covell Narrator
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Lea Kukkola Translator
Timo Kukkola Translator
David Stuart Davies Introduction
R. T. Bond Foreword
Per Th Edwardsen Translator
Axel Amlie Translator
Remo Costanzi Translator
F. J. Sheed Introduction
Annalisa Teggi Translator
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J.-C. Laurens Translator
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Matthias Marx Translator
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John Lawrence Illustrator
Russell Kirk Contributor
Ben Schott Foreword
Anthony Boucher Introduction
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Tony Ross Illustrator
Joachim KALKA Illustrator
Elizabeth Turner Illustrator

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