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Look Homeward, Angel

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Look Homeward, Angel: A Story of the Buried Life is a 1929 novel by Thomas Wolfe. It is Wolfe's first novel, and is considered a highly autobiographical American Bildungsroman. The character of Eugene Gant is generally believed to be a depiction of Wolfe himself. The novel covers the span of time from Gant's birth to the age of 19. The setting is the fictional town and state of Altamont, Catawba, a fictionalization of his home town, Asheville, North Carolina. Playwright Ketti Frings wrote a theatrical adaptation of Wolfe's work in a 1957 play of the same title.

544 pages, Paperback

First published January 1, 1929

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About the author

Thomas Wolfe

342 books1,026 followers
People best know American writer Thomas Clayton Wolfe for his autobiographical novels, including Look Homeward, Angel (1929) and the posthumously published You Can't Go Home Again (1940).

Wolfe wrote four lengthy novels and many short stories, dramatic works and novellas. He mixed highly original, poetic, rhapsodic, and impressionistic prose with autobiographical writing. Wolfe wrote and published books that vividly reflect on American culture and the mores, filtered through his sensitive, sophisticated and hyper-analytical perspective. People widely knew him during his own lifetime.

Wolfe inspired the works of many other authors, including Betty Smith with A Tree Grows in Brooklyn, Robert Morgan with Gap Creek; Pat Conroy, author of Prince of Tides, said, "My writing career began the instant I finished Look Homeward, Angel." Jack Kerouac idolized Wolfe. Wolfe influenced Ray Bradbury, who included Wolfe as a character in his books.

(from Wikipedia)

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Displaying 1 - 29 of 1,285 reviews
Profile Image for Evan.
1,072 reviews816 followers
July 9, 2016
This book is a masterpiece that I wouldn't recommended to my worst enemy. It is dense, repetitive, overly descriptive to the nth degree, filled with page after page of infuriating, hard-to-like characters, and more or less moves like molasses. It also is possibly the most beautifully written, poetic and longing book I've read. I've cradled it and put it aside variously over the course of the last month and a half -- during one of the most difficult and trying periods of my life: the loss of my job, leaving my wife for a week due to disagreement and returning to the unresolved strife, the pressure of finding new work and doing a difficult freelance job, the problems of my sons, financial worries, etc... Reading about the madness and banalities of a small-town Southern family before and after World War I was sort of the last thing I really wanted to deal with as my personal challenges grew. And I really have no time to do it the justice of a proper review now because of all the things going on. It is a great book; Wolfe was obviously enamored of his own genius and mad skills and shows them off for all. It is probably too much, but I can't penalize the man for being talented and brilliant. Oddly, though, I often felt he was better at describing places and things and moods than people. I was not always sure I quite got into the heads of some of the major characters; even though they do at times evoke sympathy, or more accurately, pity, for their shortsightedness and shortcomings, I also felt at times they remained archetypes. Nonetheless, I just need to leave it at that for now. I'm proud that I've finished a book that probably has been more abandoned than finished by a majority of readers who've tackled it.

(KevinR@Ky 2009)

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2016 Addendum:

I almost wish I had put more effort into this review, which I consider to be one of my worst, because it has been one of my most popular ones on Goodreads, read by quite a few people. There's plenty of heart-on-sleeve in it, and maybe that's what everyone likes about it, but I wish I had made more concrete and objective observations on the book and its themes. But, as you can see in the review, I was in a difficult place personally at the time and was unable to compartmentalize mentally in the way necessary to pull that off.

What struck me today (May 9, 2016) was this novel's absence from the famous/infamous Modern Library Top 100 novels list, where it obviously belongs in place of such banal things as Arthur Koestler's Darkness at Noon, for instance. As a corrective, there is an alternate Radcliffe's Rival 100 Novels list, which I may add to my reading shelves, and therein Look Homeward, Angel has found its rightful place.

(KevinR@Ky 2016)


Profile Image for Fergus, Quondam Happy Face.
1,111 reviews17.7k followers
March 31, 2024
In 1971, Thomas Wolfe seized my heart and gave ardent voice to the angst that had so overwhelmed me the previous autumn. And that voice refused be stilled - as its echoes resounded through my long life up to late middle age.

When I was a kid, I could never read in a moving vehicle. I was much too antsy for that.

But all that changed in the late sixties, for it was then that I discovered great writing...

Be it Dante or Baudelaire (what polar opposites!) I would read whenever the occasion presented itself. Fast-moving vehicles filled with raucous conversation notwithstanding, I could immerse myself in the glowing world of the classics at the drop of the hat!

And in 1971, my family’s travelling destination - with a rented camper coupled to the rear of our car - was the city of the Golden Gate. San Francisco, my mom’s home town. And browsing its wonderful antique book emporiums, this novel was from then on my travelling companion.

Need I say I finished it before our weary final return to parochial small-town Ontario? I was enraptured by Wolfe’s lyrical writing.

The voice that would not be stilled, of course, was Wolfe’s theme - the impossible passionate longing for our past innocence.

Now, that’s a tough, affective nut to crack. It’s impenetrable because it’s so dense with remembered pain. Letting go of our past is impossible for so many of us.

The Renaissance-era Japanese Zen Master Hakuin calls it Enlightenment Sickness - we cling to the sacred cow of our sudden glimpse of the Beyond. But as T.S. Eliot so wisely says, “we had the experience but missed the meaning.” When you reach the top of a hundred-foot flag pole, keep climbing!

Don’t, whatever you do, go back down. As Wolfe cried out in his next book, you can’t go home again. You must keep climbing.

Until the day you see you INVENTED the flag pole.

Yes, that’s right.

We were already Home Free.

But we couldn’t see it -

Because we clung to the past like an old tattered flag.

The past is now finished -

It's a time for New Beginnings:

In the Vivid Present Tense that has never failed to free us from our prisons.
Profile Image for Vit Babenco.
1,546 reviews4,288 followers
March 9, 2020
Even angels must leave their nests in heaven one day…
…a stone, a leaf, an unfound door; of a stone, a leaf, a door. And of all the forgotten faces.
Naked and alone we came into exile. In her dark womb we did not know our mother’s face; from the prison of her flesh have we come into the unspeakable and incommunicable prison of this earth.

Look Homeward, Angel is about avarice and its consequences. Petty greed ruined the substantial family and even if the protagonist managed to escape, the seeds of destruction were already sown inside him. The story is epic, lyrical and sad.
In nakedness and loneliness of soul he paced along the streets. Nobody said, I know you. Nobody said, I am here. The vast wheel of life, of which he was the hub, spun round.

Exposed to tuberculosis from early childhood the children contracted this disease and majority of them, including Thomas Wolfe, died of different forms of tuberculosis – the mother’s heart couldn’t suspect any consequences of her occupation.
Each moment is the fruit of forty thousand years. The minute-winning days, like flies, buzz home to death, and every moment is a window on all time.

Any one of us is an integral part of humanity and a modicum of the entire history.
Profile Image for Richard Derus.
3,168 reviews2,094 followers
August 18, 2017
Rating: 2.5* of five

The Publisher Says: A legendary author on par with William Faulkner and Flannery O'Connor, Thomas Wolfe published Look Homeward, Angel, his first novel, about a young man's burning desire to leave his small town and tumultuous family in search of a better life, in 1929. It gave the world proof of his genius and launched a powerful legacy.

The novel follows the trajectory of Eugene Gant, a brilliant and restless young man whose wanderlust and passion shape his adolescent years in rural North Carolina. Wolfe said that Look Homeward, Angel is "a book made out of my life," and his largely autobiographical story about the quest for a greater intellectual life has resonated with and influenced generations of readers, including some of today's most important novelists. Rich with lyrical prose and vivid characterizations, this twentieth-century American classic will capture the hearts and imaginations of every reader.

My Review: Oliver Gant's a drunk, Eliza Gant's a shrew, they have six kids and she doesn't like him, or childbirth, or poverty, or much of anything else that I can see. Oliver likes his youngest, Eugene, better than any of them (so do I, but that's not sayin' a lot), and spends what tiny amount of love Eliza hasn't nagged and bitched and niggled and criticized and belittled out of him on the kid.

Eugene grows up in a boardinghouse called Dixieland in Asheville, North Carolina. OOOPSIE! I mean Altamont, Catawba. Wolfe didn't want anyone to know he was writing autobiography, see, so he invented a city and a state! Wow! And then he wrote about the people around him honestly, forthrightly, and in a stream-of-Faulkner style that was then très chic and is even now described as modernistic. EIGHTY PLUS YEARS LATER IT'S NOT EXPERIMENTAL OR MODERN ANYMORE, BOYS AND GIRLS, IT'S PART OF THE TOOLKIT.

Ahem. Sorry.

So Eugene grows up, and we do too, and then leaves home, and we do too, and then everything comes to a screeching halt.

Thank GAWD for small mercies.

I am no fan of the coming-of-age novel, and I don't often read them. I read this one when I was fifteen, because I wanted to impress a hot boy I was trying to get into my bed, and he thought this was the coolest book ever. I read it every damn day in study hall so he'd notice me, which he did, and we ended up talking about the book for hours.

And that was ALL I got. Yip-yap-yop about Eugene's life and his deepness and ohdeargawdpleasekillmenow stuff about the damn BOOK!!

I don't think I've ever forgiven the book for not getting me laid.

But upon mature reflection, I still dislike the book, for better (more adult, anyway) reasons. One is that even editing legend Max Perkins couldn't give Wolfe a deft enough hand to tell this story in so demanding a style as stream-of-consciousness without it spilling over into self-indulgence and sloppy, untidy, unnecessary sentimentality.

Another is Eugene/Tom's misogyny. I yield to no one in my distaste for the Cult of Female Superiority, whether motivated by “chivalry” or by feminism. Women ain't better than men, but likewise they ain't worse either. Wolfe's woman, mama Eliza, is a horrible gorgon of a vicious emasculating harridan. She has depths to her nastiness and pretension that are entirely credible. What she lacks is the balancing of REASONS for these things. In the first two zillion words, which detail the lives of Eliza and Oliver, Eliza emerges fully formed as a castrating slime. She was born this way? I doubt me much this is true.

Lastly comes Wolfe's conceit. In this Bildungs-barely-roman, he relives the first years of his life...an ordinary, unremarkable one...seemingly in real time. Why? What for? Here is the nub of my objection to coming-of-age stories: We've all come of age, so what makes your story special? In Wolfe's case, I do not see the special. It is entirely possible that I am resistant to his specialness because the story is so boring to me. But I quite simply can not fathom what makes this dreary, low-class, hag-ridden tribe of ciphers anything I should care enough about to do more than put a coin in the charity box to help feed.
Profile Image for Bam cooks the books ;-).
2,015 reviews270 followers
June 14, 2017
While visiting Asheville, NC, in May, we boarded a trolley at the Visitor's Center for a guided tour of the city. 'Uncle Ted' was our driver, a retired high school history teacher with a great sense of humor but an occasionally hard-to-decipher accent. He took umbrage if we didn't always laugh at his jokes but often we were just a little slow to parse out his meaning!

But what soon became very apparent was how much the city of Asheville loves its authors--and none more so than Thomas Wolfe (1900-1938). His first book, Look Homeward, Angel, is largely based on his own childhood in Asheville. He changed the names of places and people (to protect the guilty) but his neighbors still recognized local characters. Some were thrilled to see themselves in print, others not so much. But according to 'Uncle Ted' even to this day fans of the book go on self-guided walking tours, trying to locate scenes from the novel, stopping to ask for autographs from the residents who now live there, even though they have nothing to do with the Wolfe family or the story!

Returning to the Visitor's Center, I bought myself a copy of the book--my favorite kind of souvenir to bring back from our travels. I believe this book has been on my 'must-read' list since it was recommended in high school but back then, I tended to read female authors with female protagonists, I realize now. My favorites were: To Kill a Mockingbird, Gone with the Wind, Rebecca, Jane Eyre, and Pride and Prejudice, to name just a few.

What would I have thought of this book as a teen, I now ask myself. Would I have been able to relate to Eugene Gant and his struggles to find himself? Yes probably, as I did with Holden Caulfield in The Catcher in the Rye, which was the first book I assigned to a sophomore English class as a student teacher.

This novel was published in 1929 and must have raised a few eyebrows for its subject matter and experimental style. Is it the great American novel? I would say it definitely should be in the running. What a wonderful window it provides to that era and that mountain setting! The characterizations are vivid, the writing poetical, the coming-of-age angst depicted is universal and timeless.

The Gant family is beyond dysfunctional--they attack each other, both verbally and physically, but when the chips are down they obviously deeply love each other. The brothers and sisters are divided by which parent they seem to take after: W.O. Gant is extremely self-centered and often inebriated (Oh, woe is me! Why is this happening to me!); Eliza Pentland Gant is a penny-pincher whose main goal is to acquire more property at the expense of a comfortable life for her family.

At one point, she buys a boarding house she calls Dixieland and thereafter her family divides itself in half--some remain with Gant while some stay with her, including her youngest son, Eugene (Thomas Wolfe). Many of the boarders are unsavory--druggies and prostitutes--but Eliza doesn't care as long as they can pay the rent. Eugene never even has a room or a dresser to call his own; everything is up for grabs. (Some interesting photos of the house which is now a NC state historic site: https://www.romanticasheville.com/tho...)

Even though his parents always claim to be so poor, they are able to send the precocious Eugene off to the University of North Carolina at the young age of 16, where he is seen as a country bumpkin and a misfit--he's so very tall, skinny, and poorly dressed--and becomes the brunt of their jokes. Spotting his virginal innocence, some 'friends' make it a point to see he is initiated into sex with a prostitute, where he contracts a raging case of venereal disease. In his shame, he thinks he's dying until he confesses his sin to his older brother, Ben, who laughs at his folly and takes him to the local doctor for some medical treatment.

There are many themes that run through the novel, the main one being the feeling of alienation, of being 'a stranger in a strange land,' the sense of being lost in the world. It's also interesting to keep track of the many references to 'angels' and descriptions of 'gauntness' which appear throughout the story. (The original family name was Gaunt, changed to Gant when the forefather first arrived in America in the early 1800s, by the way.)

Wolfe's angel: https://images.search.yahoo.com/yhs/s...

Some of my favorite quotes:

Ben Gant: "He bore encysted in him the evidence of their tragic fault: he walked alone in the darkness, death and the dark angels hovered, and no one saw him."

Eugene Gant, at nearly twelve: "The prison walls of self had closed entirely round him; he was walled completely by the esemplastic power of his imagination--he had learned by now to project mechanically, before the world, an acceptable counterfeit of himself which would protect him from intrusion."

"Naked came I from my mother's womb. Naked shall I return. Let the mothering womb of earth engulf me. Naked, a valiant wisp of man, in vast brown limbs engulfed."

The Gant family: "And he thought of the strange lost faces he had known, the lonely figures of his family, damned in chaos, each chained to a destiny of ruin and loss--Gant, a fallen Titan, staring down enormous vistas of the Past, indifferent to the world about him; Eliza, beetle-wise, involved in blind accretions; Helen, childless, pathless, furious--a great wave breaking on barren waste; and finally, Ben--the ghost, the stranger, prowling at this moment in another town, going up and down the thousand streets of life, and finding no doors."

As Eugene's brother lies dying: "He began to pray. He did not believe in God, nor in heaven or hell, but he was afraid they might be true. He did not believe in angels with soft faces and bright wings, but he believed in the dark spirits that hovered above the heads of lonely men. He did not believe in devils or angels, but he believed in Ben's bright demon to whom he had seen him speak so many times.

Eugene did not believe in these things, but he was afraid they might be true. He was afraid Ben would get lost again. He felt that no one but him could pray for Ben now: that the dark union of their spirits made only HIS prayers valid."

And as Eugene leaves 'Altamont' for graduate school at Harvard knowing he will probably never return home: "He stood naked and alone in the darkness, far from the lost world of the streets and faces; he stood upon the ramparts of his soul, before the lost land of himself; heard inland murmurs of lost seas, the far interior music of the horns. The last voyage, the longest, the best."

I look forward now to reading the second book, Of Time and the River: A Legend of Man's Hunger in His Youth; I've heard it's very long but equally as good.
July 29, 2019
Μυθιστόρημα αλλοτινής εποχής αλλά τόσο οικείας στο πέρασμα του χρόνου, με μια ιστορική, λερωμένη χαρά και με πληθώρα αισθήσεων, τόσο ταύτισης όσο και παρακολούθησης, πλοκής, εξέλιξης, υπόθεσης, σκέψεων, συλλογισμών, αντιδράσεων, τελετουργικών δράματος, κωμωδίας και τραγωδίας, σε ενα θλιβερό αυτοπαθές, οικογενειακό και πανανθρώπινο πλαίσιο σχέσεων.
Δεν ειναι γρήγορο ανάγνωσμα, είναι πυκνογραμμένο, σκοτεινό με άπλετο φως εσωτερικής διαύγειας και υπέροχα μακροσκελή, περιγραφικά, ποιητικά περάσματα.
Αυτό το μαζικό, επικό, αυτοβιογραφικό μυθιστόρημα μυρίζει Αμερικανική σκέψη αλλά διαφέρει απο τα ομοειδή του και αποτελεί λαμπρό αριστοτεχνικό έργο με κάθε προσφορά πνευματικής πολύτιμης κληρονομιάς που επιβάλλεται και επηρεάζει κατοπινές γενιές δημιουργών.

Αγάπησα τον Thomas Wolfe και γεύτηκα το νόημα της πένας του,άλλοτε να στάζει μέλι και άλλοτε φαρμάκι. Κάποιες φορές να μοσχοβολάει η πλάση άνοιξη και να χαϊδεύει τις εποχές του Αμερικάνικου νότου στον οίστρο της φύσης και της ζωής.
Άλλες φορές να μην υποφέρεται η σαπίλα και η λάσπη απο μολυσμένα νερά, τοξικά μυαλά, άξεστους βόθρους υλιστικών επιδιώξεων, μοναξιά, εγκατάλειψη, παραμέληση παιδικών ψυχών και ουσιαστική πτώση, ίσως βαρβαρική κατάπτωση, αδιαφορίας και ατομικού συμφέροντος ταϊσμένου απο λίπη και τοξίνες σε γεύματα που σερβίριζαν παιδικά κατάλοιπα.

Άγρυπνο πνεύμα ο συγγραφέας, βασανισμένο, μοναχικό και λαμπρό και άτυχο.
Άυπνος περιπατητής σε άγνωστα εσωτερικά δρομάκια του εαυτού του, πάντα σε νυχτερινές παραπλανητικές αναζητήσεις.
Με γοήτευσε η τεχνική του και με ρούφηξε κυριολεκτικά στα έγκατα της επιδεξιότητας του, διότι ο λόγος του εστιάζει και επηρεάζει σαν ψυχεδελική συμπεριφορά όχι ακριβώς σε αυτό που συνέβη αλλά και στο πως περιγράφεται με ανατριχιαστική ταύτιση αυτό που συνέβη.
Σκεφτόμουν πως ίσως ή μάλλον σίγουρα, ακριβώς έτσι θα είχα αισθανθεί ή αντιδράσει κι εγώ σε ανάλογη περίπτωση.
Άρα συνδεθήκαμε με αόρατες χορδές σε ένα συμπαντικό αναγνωστικό παρελθόν παρακολούθησης και ταυτοτοποίησης προσωπικών δεδομένων με έναν συγγραφέα που ήταν παρών σε κάθε πρόταση με πάσα ειλικρίνεια περιγραφής και σκιαγράφησης και χαοτικής υπερβατικής αναζήτησης εκατοντάδων κληρονομικών εαυτών χιλιάδων χρόνων ύπαρξης.

Αυτό το βιβλίο είναι πλούσιο. Κάθε αναφορά του σε τεράστιες αθάνατες λογοτεχνικές και καλλιτεχνικές μεγαλειώδεις προσωπικότητες, έβαζε μέσα στην γραμματοσειρά του ακόμη έναν πολύτιμο πνευματικό λίθο.
Γίνεται εναλλάξ εκπληκτικό και μισητά θλιβερό.
Ωστόσο, παρόλο που δεν έχει συγκρούση, συσσώρευση, κορύφωση και επίλυση, έχει μια λυτρωτική δομή αποδόμησης και πληθώρα δακρύων απονιάς και απώλειας.
Μια εσωτερική διακόσμηση με ανθρώπινες ψυχές πανανθρώπινης συγγένειας και μια κατασκευή λόγου που έχει ικανότητα να απορροφά συναισθήματα και διαθέσεις σαν μια απλή υπογραφή στην παγκόσμια διαθήκη της προσωπικής ανάπτυξης και της Ιστορίας, στο διαχρονικό πλαίσιο του θανάτου και του σπαταλημένου χρόνου σε βάρος της ανθρωπιάς και της ευσπλαχνικής αγάπης η οποία ποιοτικά δεν διυλίζεται.

*οι τελευταίες 150 σελίδες μου γάμησαν την καρδιά. 🥺😢
#Σορρυ_νοτ_σορρυ

🖤🌺🌺
♥️
Καλή ανάγνωση. 😇
Πολλούς ασπασμούς.
Profile Image for Agatha Lund.
912 reviews37 followers
Read
August 25, 2007
This book is my nemesis.

No, seriously: I've been trying to read it for almost six years. I've tried to read it in the spring, the summer, the fall, the winter -- on planes, on the bus, on the El, in Chicago, in Baltimore, in North Carolina. And every single time, I stall out about 60% of the way through.

Stargate: Atlantis fans think that John Sheppard's still trying to read War and Peace after three years in the Pegasus Galaxy; I canonically can't finish Look Homeward, Angel.

I know it shouldn't bother me -- I'm not really a big believer in there being books you should read, like classics; you should read what you want -- but it does. It bothers me because I'm a student (albeit an amateur) of Southern literature, and this is one of the big ones, right up there with all of Faulkner and The Moviegoer and Kate Vaiden. In North Carolina, it's the big one.

And I just can't finish it.

I don't know if it's good, or bad, or simply hanging on by its academic reputation. All I know is that this book is the great challenge of my life, and I just bought a used copy at the public library, and I am going to finish this frelling book if it kills me.
Profile Image for David.
78 reviews16 followers
June 21, 2007
sometimes books have to be read at a certain time in your life. for me. this one was the perfect end to college. i finished this two days after graduation. after all of my friends departed for points unknown or home. i was laying in the grass at fordham in the bronx with the sun shining and with the words my mother spoke to me when she dropped me off four years earlier. she said, you won't be back. and i told her i would. but reading this. finishing it in the grass in the bronx. with everyone who had been close to me gone, i knew she was right.
Profile Image for Lawyer.
384 reviews912 followers
August 1, 2014
Look Homeward, Angel, A Story of Buried Life: Or, Why I Can't Go Home Again

 photo LHA1st_zps46652bad.jpg
Look Homeward, Angel, First Edition, Charles Scribner's Sons, NY, NY, 1929

The manuscript Thomas Wolfe submitted to master editor Maxwell Perkins was not titled Look Homeward, Angel, A Story of Buried Life. Rather, Wolfe had chosen O Lost: A Story of the Buried Life.

 photo Wolfe_zpsb83ba050.jpg
Thomas Wolfe, a buried life?

I call Perkins the master editor for he was already responsible for neatening up the works of Ernest Hemingway and F. Scott Fitzgerald. He was accustomed to diplomatically dealing with authors' sensitivities reluctance to have the language of their creations changed. Hemingway could be an absolute beast about it. Now Perkins had what appeared to be a new prodigy on his hands. He found Wolfe more malleable.

 photo MaxPerkins_zps53898126.jpg
THE editor, Max Perkins

Perkins explained to Wolfe that he considered Wolfe's alter ego, Eugene Gant, to be the central focus of the novel. To emphasize that Perkins said portions unnecessary to accomplishing that parts had to be cut. And Perkins cut. Sixty-six thousand words. Initially, Wolfe considered Perkins a friend and mentor. As he published additional work he soured in his opinion of Perkins. In 1934 Wolfe left Scribners and signed with Harper Brothers.

The original manuscript of "O Lost A Story of the Buried Life," was published on October 3, 2000, by the University of South Carolina Press for the centenary of Thomas Wolfe's birth. The manuscript was restored by F. Scott Fitzgerald scholar Matthew J. Bruccoli, and Arlyn Bruccoli.

 photo OLost_zps4d9fe8cf.jpg

But, back to the novel in question. "Look Homeward, Angel" was published less than two weeks before the stock market crash of 1929. However, what was the beginning of the great depression did not deter readers from buying Wolfe's first novel. The reviews were generally glowing. The debut of the novel was a literary sensation.

In short, Wolfe wrote his autobiography as fiction. As in real life, Eugene's father was a stone cutter of funereal monuments, while his mother established a second home in a boarding house she purchased. Some of Eugene's siblings lived with their father, those who had not escaped by death or marriage. However, Mother took Eugene to live with her at her enterprise, "Dixie Land." However, from time to time, Eugene's mother forgets that she has stashed him at his father's. W.O. Gant, the stone cutter who can't carve an angel is the epitome of excess and at times largess. Mother Eliza, however is the very symbol of deprivation. She could make Lincoln scream on a penny. Eugene never knows which room is his. Eliza is prone to moving to smaller quarters to make room for her boarders.

Eliza keeps Eugene's hair at little Lord Fauntleroy length until age nine. He is teased and bullied by his school mates. Mother and son share the same bed until Eugene approaches adolescence. Through the years Eugene's resentment toward his mother grows until he confronts her after leaving for college.

“By God, I shall spend the rest of my life getting my heart back, healing and forgetting every scar you put upon me when I was a child. The first move I ever made, after the cradle, was to crawl for the door, and every move I have made since has been an effort to escape.”


Eliza responds by calling Eugene an unnatural son.

We follow Eugene throughout his life. The novel ends near Wolfe's twenty-ninth birthday.

Eugene's sibling to whom he is the closest is his brother Ben. Ben acts as Eugene's reinforcement in escaping home. He urges Eugene to take whatever he can from his parents to complete his college education. However, Eugene repeatedly tells Ben he has enough.

Wolfe takes us through life on the home front during WWI. He vividly portrays the deadly Spanish Influenza epidemic which swept through soldiers and citizens alike.

There are moments in this novel that are unforgettable. Wolfe can write a sentence that paints the portrait of a place and time. His characters are drawn memorably.

I first read "Look Homeward, Angel" in October, 1973. I was almost two months past my twenty-first birthday. Professor O.B. Emerson, the late Professor of English at the University of Alabama, taught a hefty canon of titles to be read over the semester. Emerson believed a week should be a sufficient period of time to read "Look Homeward, Angel." I loved the man. However, he was one of those professors who could be a bit tyrannical regarding his sympathies for his students other classes. "What classes," he murmured in his lilting southern drawl.

Sighing, as I opened the thick Scribners paperback, wondering how I was going to manage other class assignments, I experienced a euphoric high as I became entranced by Wolfe's story. I became immersed in it. I swam in it. I believed I had stumbled upon a previously undiscovered god.

I assure you I came to consider Eugene Gant a kindred spirit. I knew exactly what was meant by a buried life. I suppose those in the agonies of adolescence and those on the threshold of manhood, womanhood, have at one time or another felt that portions of their lives were indeed buried by any numbers of things. Families could be difficult. They were barriers to freedom. School mates could be horribly cruel for any number of reasons, the primary one being they looked down upon you from a lofty pedestal formed by their much higher social and financial position.

O Lost. The object of one's romantic obsession. The girl too virtuous to be touched. The girls who kicked over the fences of virtuosity, who yearned to be touched and allowed me to touch them. It was confusing whether love and lust were elements of one human need, or were completely different entities.

Eugene is extremely tall by the time he is sixteen. Women tend to think he is older than he is. One is Laura James who is twenty-three. Eugene falls hopelessly in love with her. They spend considerable time in the evenings on the porch swing at Dixie Land. He dreams of marriage to her. She promises to wait for him. And then Eugene learns that she has married. Now that she has become unavailable to him, his thoughts become fantasies of vivid sexual attraction.

“Come up into the hills, O my young love. Return! O lost, and by the wind grieved, ghost, come back again, as first I knew you in the timeless valley, where we shall feel ourselves anew, bedded on magic in the month of June. There was a place where all the sun went glistening in your hair, and from the hill we could have put a finger on a star. Where is the day that melted into one rich noise? Where the music of your flesh, the rhyme of your teeth, the dainty languor of your legs, your small firm arms, your slender fingers, to be bitten like an apple, and the little cherry-teats of your white breasts? And where are all the tiny wires of finespun maidenhair? Quick are the mouths of earth, and quick the teeth that fed upon this loveliness. You who were made for music, will hear music no more: in your dark house the winds are silent. Ghost, ghost, come back from that marriage that we did not foresee, return not into life, but into magic, where we have never died, into the enchanted wood, where we still life, strewn on the grass. Come up into the hills, O my young love: return. O lost, and by the wind grieved ghost, come back again.”


I sympathized with Eugene, the prisoner of two parents controlled by completely conflicting belief systems. Yet, Eugene had the knack of making himself miserable through his own worries separate and apart from any family influence. When you are young everything is of momentous importance.

When my group "On the Southern Literary Trail" chose "Look Homeward, Angel," I was eager to capture the reaction to it I had at age twenty-one. I went to the library bookstore and found a very nice Modern Library Giant edition of the novel. $2.00. A deal. Done.

I opened the cover. Inside was a library label of my college calculus professor. Yes. O Lost. But she was not a forgotten face. As much as I might have asked her ghost would not come again. It was a moment that caused me to pause and think that perhaps, just perhaps, this read would not be the same as the first.

Although I have done many re-reads of novels selected by my group, I have never been disappointed. It has been like having a conversation with an old friend.

But this time it was different. Nearly forty one years of living took the gloss off Wolfe's novel for me. I decided "Look Homeward, Angel" is best left to the younger reader. I shelved "Look Homeward, Angel" in 2010. Based on my memory of my first read I rated it four stars. As you can see, through the passage of time my feelings have changed.

I have a sign that says:

 photo 35459_180652648612659_2089753_n_zps6430b2b1.jpg
Res ipsa loquitur, The thing speaks for itself.

Throughout my career I kept that sign on my office desk with its message facing me. As I served the wounded, maimed, molested, and aggrieved ones who lost a loved one it reminded me of the good fortune I have had in life to not have suffered as the many with whom I worked. Although it has become a cliche I find this to be true. Surrender to the fact that life is unfair. Don't sweat the small stuff.

Thomas Wolfe died a few days shy of his thirty-eighth birthday. He suffered from miliary tuberculosis which attacks the brain. Perhaps in those final days he began to realize life wasn't quite as he had imagined it in his writing. On his death bed he wrote to Max Perkins calling him his closest friend, acknowledging that Perkins had provided him so much help when he was a younger writer.

Me? I'm glad to be here. You really can learn something from another day of living. That's why I can't go home again.

 photo wolfsangel_zpsf988763c.jpg
"O lost, and by the wind grieved ghost, come back again.”











Profile Image for Eirini Proikaki.
354 reviews125 followers
February 7, 2019
DNF
Οκ,έφτασα στο 40% του βιβλίου αλλά αρνούμαι να συνεχίσω να το κάνω αυτό στον εαυτό μου και το παρατάω!Δεν με νοιάζει αν είναι αριστούργημα ,αν είναι βιβλίο-σταθμός,εγώ δεν μπορώ να το διαβάσω.
Τσουλάει πιο αργά και απο γυμνοσάλιαγκα,είναι αφόρητα βαρετό,δεν έχει έναν χαρακτήρα συμπαθητικό μέσα,δεν έχει απο κάπου να πιαστώ για να συνεχίσω να διαβάζω,αν στην επόμενη σελίδα πέφταν όλοι ξεροί και πεθαίνανε,θα χειροκροτούσα που τελείωσε το μαρτύριο τους και το δικό μου.
Έχει κάποιες υπέροχες περιγραφές αλλά ο συγγραφέας ξεχνάει να σταματήσει και συνεχίζει και συνεχίζει και στο τέλος καταντάει βασανιστήριο!
Επίσης η μετάφραση τα έχει τα χρονάκια της και της φαίνονται και αυτό δεν βοηθάει την κατάσταση.
Profile Image for Michael Finocchiaro.
Author 3 books5,834 followers
June 17, 2022
Mind-blowing, truly mind-blowing. This book seems to have nearly been forgotten now, but it had an absolutely earth-shattering impact on writers of the early 20th century following its publication in 1929. How it could possibly have lost the 1930 Pulitzer to the awful, condescending Laughing Boy: A Navajo Love Story is just unfathomable. In my mind, t is at the same level as The Sound and the Fury in terms of the power of the writing and the titanic size of its characters. It is the fictionalized autobiography of Wolfe and his upbringing in a small North Carolina town roughly based on Asheville. Wolfe died at the extremely young age of 37 in 1938 which amplified even more the mythical aura to his work.

The writing is beautiful and dramatic and full of poetry. Following are some examples.
This chapter opening (chapter 9) is just amazing:
Yes, and in that month when Prosperpine comes back, and Ceres'
dead heart rekindles, when all the woods are a tender smoky blur, and
birds no bigger than a budding leaf dart through the singing trees, and
when odorous tar comes spongy in the streets, and boys roll balls of it
upon their tongues, and they are lumpy with tops and agated marbles;
and there is blasting thunder in the night, and the soaking million-
footed rain, and one looks out at morning on a stormy sky, a broken
wrack of cloud; and when the mountain boy brings water to his
kinsmen laying fence, and as the wind snakes through the grasses
hears far in the valley below the long wail of the whistle, and the
faint clangor of a bell; and the blue great cup of the hills seems closer,
nearer, for he had heard an inarticulate promise: he has been pierced by
Spring, that sharp knife.
And life unscales its rusty wealth...


Does anyone write like this anymore? You can see the influence it would have on Fitzgerald, Steinbeck, Hemingway, Faulkner, Morrison...just wow.

I loved this description of the down-home religion in the South:

And from the mellow gloom of the church, the rich distant
organ, the quiet nasal voice of the Scotch minister, the interminable
prayers, and the rich little pictures of Christian mythology which he
had collected as a child under the instruction of the spinsters, he
gathered something of the pain, the mystery, the sensuous beauty of religion,
something deeper and greater than this austere decency.


I don't even know where to start in introducing this beautiful quote about chance and chaos:
His life coiled back into the brown murk of the past like a
twined filament of electric wire; he gave life, a pattern, and movement to
these million sensations that Chance, the loss or gain of a moment,
the turn of the head, the enormous and aimless impulsion of accident,
had thrust into the blazing heat of him. His mind picked out in
white living brightness these pinpoints of experience and the
ghostliness of all things else became more awful because of them. So many of
the sensations that returned to open haunting vistas of fantasy and
imagining had been caught from a whirling landscape through the
windows of the train.


Further on, we have this paragraph which makes me wonder if Wolfe had read Swann's Way because it reminded me so strongly of Proust's description of the spires of the Cathedral of Chartres seen from the back of a horse-driven cart...

...both the observer and the observed seem frozen in time. There was one moment
of timeless suspension when the land did not move, the train did not move, the slattern in
the doorway did not move, he did not move. It was as if God had lifted
his baton sharply above the endless orchestration of the seas, and the
eternal movement had stopped, suspended in the timeless architecture
of the absolute. Or like those motion-pictures that describe
the movements of a swimmer making a dive, or a horse taking a hedge-
movement is petrified suddenly in mid-air, the inexorable completion
of an act is arrested. Then, completing its parabola, the suspended body
plops down into the pool.


Interesting juxtaposition of the narrator's father and mother's divergent personalities:
The fusion of the two strong egotisms, Eliza's inbrooding and Gant's
expanding outward, made of him a fanatical zealot in the religion of Chance.
Beyond all misuse, waste, pain, tragedy, death, confusion,
unswerving necessity was on the rails; not a sparrow fell through the
air but that its repercussion acted on his life, and the lonely light that fell
upon the viscous and interminable seas at dawn
awoke sea-changes washing life to him. The fish swam upward from the depth.


Just pure power here in his words, pure poetry and a piece of Universal Truth:

The seed of our destruction will blossom in the desert, the alexin of
our cure grows by a mountain rock, and our lives are haunted by a Georgia
slattern because a London cutpurse went unhung.
Through Chance, we are each a ghost to all the others, and our only reality;
through Chance, the huge hinge of the world, and a grain of dust; the
stone that starts an avalanche, the pebble whose concentric circles
widen across the seas.


Is there an influence here from TS Elliott's The Waste Land?

They were like men who, driving forward desperately at
some mirage, turn, for a moment, to see their footprints stretching inter-
minably away across the waste land of the desert; or I should say, they
were like those who have been mad. and who will be mad again, but who
see themselves for a moment quietly, sanely, at morning, looking with
sad untroubled eyes into a mirror.
Their faces were sad. There was great age in them. They felt suddenly
the distance they had come and the amount they had lived. They
had a moment of cohesion, a moment of tragic affection and union,
which drew them together like small jets of flame against all the senseless
nihilism of life.


A nice beautiful paragraph about nostalgia:

They looked at each other with clumsy tenderness. They thought of the lost years
at Woodson Street. They saw with decent wonder their awkward bulk of puberty.
The proud gate of the years swung open for them. They felt a lonely glory.
They said farewell.


I love this clip:

He belonged, perhaps, to an older and simpler race of men: he
belonged with the Mythmakers. For him, the sun was a lordly lamp to
light him on his grand adventuring. He believed in brave heroic lives. He
believed in the fine flowers of tenderness and gentleness he had little
known. He believed in beauty and in order, and that he would wreak out
their mighty forms upon the distressful chaos of his life. He believed
in love, and in the goodness and glory of women.
He believed in valiance, and he hoped that, like Socrates, he would do nothing mean
or common in the hour of danger. He exulted in his youth, and he believed that he could never die.


And I'll end on this immoral quote which is a rally-cry for poets and artists everywhere:

We do not want to be told what we know. We do not want
to call things by their names, although we're willing to call one an-
other bad ones. We call meanness nobility and hatred honor. The way
to make yourself a hero is to make me out a scoundrel. You won't admit
that either, but it's true.


Have you read this one? If not, you should as it is one of the greatest books written in the US in the 20th century. If you have, please comment on your own experience below.
Profile Image for Ted.
515 reviews742 followers
May 7, 2018
Look homeward Angel now, and melt with ruth:
And, O ye Dolphins, waft the hapless youth.

John Milton, Lycidas



One of the greatest novels that he had long ago read.


1937 portrait by Carl Van Vechten


Thomas C. Wolfe (1900 – 1938) published this, his first novel, in 1929. He had begun working on it three years before, and intended on calling it The Building of a Wall, then O Lost. The final title includes the subtitle A Story of the Buried Life.

It's the story of Eugene Gant, his growing up, his family - especially his mother and his brother - and the fictional mountain town of Altamont, in the fictional state of Catawba. The boy, the town, the state are thinly disguised versions of the author, his real family, and the town of his youth, Ashville, North Carolina.

As noted above, Wolfe died quite young. While traveling in the American West for the first time, in the summer of 1938, he contracted pneumonia in Seattle. Complications set in, and Wolfe was diagnosed with tuberculosis. He was admitted to Johns Hopkins Hospital in early September; nine days later he was dead.

The New York Times wrote, "His was one of the most confident young voices in contemporary American literature, a vibrant, full-toned voice which it is hard to believe could be so suddenly stilled. The stamp of genius was upon him, though it was an undisciplined and unpredictable genius.... There was within him an unspent energy, an untiring force, an unappeasable hunger for life and for expression which might have carried him to the heights and might equally have torn him down."

Most of Wolfe's writings were fictional autobiography, with a style undisciplined, romantic, lyrical; a penchant for analysis in depth of the individual's (ie, his) confrontation with Life and The World. Alfred Kazin has noted that Wolfe "was always a boy; his significance as a writer is that he expanded his boyhood into a lifetime, made it exciting and important, even illuminated many of the problems that give life its common savor, without ever transcending the pain of his boyhood".

In Robert Morgan's Introduction to my Scribner edition, he remembers first reading Wolfe:
When I took Look Homeward, Angelfrom the bookmobile and began reading it … I felt this was the book I'd always been looking for. It was a novel about me, and it was more than a novel. It was a revelation about how ambitious and thrilled and scared I was, and about how "lost" I felt. Eugene Gant's parents were my own parents, and his anxieties and frustrations and sense of destiny were my own … I discovered a version of myself in [the book] and became intoxicated with the elevated, poetic prose. I felt I had discovered a new poetry in the choral sections, in the soliloquies.
Which of us has known his brother? Which of us has looked into his father's heart? Which of us has not remained forever prison-pent? Which of us is not forever a stranger and alone?
… Remembering speechlessly we seek the great forgotten language, the lost lane-end into heaven, a stone, a leaf, an unfound door.

…I was sure this was what was meant by epic writing, and by tragic poetry.


What he refers to is the opening of Wolfe's novel:

A destiny that leads the English to the Dutch is strange enough; but one that leads from Epsom into Pennsylvania, and thence into the hills that shut in Altamont over the proud coral cry of the cock, and the soft stone smile of an angel, is touched by that dark miracle of chance which makes new magic in a dusty world.

Each of us is all the sums he has not counted: subtract us into nakedness and night again, and you shall see begin in Crete four thousand years ago the love that ended yesterday in Texas.

The seed of our destruction will blossom in the desert, the alexin of our cure grows by a mountain rock, and our lives are haunted by a Georgia slattern, because a London cutpurse went unhung. Each moment is the fruit of forty thousand years. The minute-winning days, like flies, buzz home to death, and every minute is a window on all time.


Of course it's not all like that … but enough … enough … to excite the passions of a young mind. And thus a mind like young Eugene Gant, a boy growing in that mountain-ringed-in town of Altamont, yearning for life and the world beyond that which he's been given to know.



And how … how did this overwrought prose/poetry capture me in my early twenties? I, after all, have turned out not to be like Gene Gant/Thomas Wolfe became - a writer, a young man ceaselessly on the move to an ever wider view of life and the world? Perhaps I had that wider view of things with three years in a far off land over forty years ago – but just a few years after Look Homeward - and then found that one can go home again, can return Odysseus-like to where he started, satiated with even a modicum of the world, small by Homeric standards, but enough for me to last.

Would Wolfe's novel still pull at me? I long to find out.





. . . . . . . . . . . . . . . . . . . .
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Profile Image for Mitch Albom.
Author 82 books111k followers
Read
April 17, 2017
I saw and loved the movie “Genius” (about Max Perkins and Thomas Wolfe) and realized I’d skipped this one as a kid. I definitely shouldn’t have.
Profile Image for Lorna.
805 reviews607 followers
April 6, 2024
“. . . . a stone, a leaf, an unfounded door; of a stone, a leaf, a door. And of all the forgotten faces.
Naked and alone we came into exile. In her dark womb we did not know our mother’s face; from the prison of her flesh have we come into the unspeakable and incommunicable prison of this earth.
Which of us has known his brother? Which of us has looked into his father’s heart? Which of us has not remained forever prison-pent? Which of us is not forever a stranger and alone?
O waste of loss, in the hot mazes, lost, among bright stars on this most weary unbright cinder, lost! Remembering speechlessly we seek the great forgotten language, the lost lane-end into heaven, a stone, a leaf, an unfound door. Where? When?
O lost and by the wind grieved, ghost, come back again.”


And so begins Look Homeward, Angel by Thomas Wolfe published in 1929, the coming-of-age story of Eugene Gant born in 1900, the ninth and last child born to William Oliver and Eliza Gant in the fictional town of Altemont inspired in this largely autobiographical novel on his hometown of Asheville, North Carolina where Thomas Wolfe, too, was born in 1900. Several passages describe the beautiful North Carolina landscape against the backdrop of the Blueridge Mountains. Often compared to William Faulkner and James Joyce, Thomas Wolfe is known for his sprawling writing style and stream of consciousness writing. This book focuses on the first two decades of the twentieth century, including the beginning and the ending of World War I. We also explore the history of the Gant family. I found the thread of angels throughout the narrative a beautiful metaphor that brought much to the story. WO Gant was a stonecutter and was in love with the stone angels from Carrara, Italy with one outside his shop.

”. . . the reeking messiness of Gant’s fantastical brick shack, the great interior dustiness of the main room in front, sagging with gravestones—small polished slabs from Georgia, blunt ugly masses of Vermont granite, modest monuments with an urn, a cherub figure, or a couchant lamb, ponderous fly-specked angels from Carrara in Italy which he bought at great cost and never sold—they were the joy of his heart.”

“For six years it had stood on the porch, weathering in tall the wind and the rain. It was now brown and fly-specked. But it had come from Carrara in Italy, and it held a stone lily delicately in one hand. The other hand was lifted in benediction, it was poised clumsily upon the ball of one phthisic foot, and its stupid white face w0re a smile of soft stone idiocy.”

“The Square lay under blazing moonlight. The fountain pulsed with a steady breezeless jet: the water fell upon the pool with a punctual slap. No one came into the Square.
The chimes of the bank’s clock struck the quarter after three as Eugene entered from the northern edge, by Academy Street.
He came slowly over past the fire department and the City Hall. On Gant’s corner, the Square dipped sharply down toward Niggertown, as if it had been bent at the edge.
Eugene saw his father’s name, faded on the old brick in moonlight. On the stone porch of the shop the angels held their marble posture. They seemed to have frozen, in the moonlight.”

“Yet, as he stood for the last time by the angels of his father’s porch, it seemed as if the Square already were far and lost; or, I should say, he was like a man who stands upon a hill above a town he has left, yet does not say ‘The town is near,’ but turns his eyes upon the distant soaring ranges.”
Profile Image for Betsy Robinson.
Author 11 books1,140 followers
Read
February 9, 2017
Why on earth was I so driven to read this book? I, who eschew excess words and have no problem wiping them out of my own books and the work I edit?

I first read Look Homeward, Angel when I was in junior high school. I retained none of the story, only my reaction to it: awe.

For more than forty years, the yellowing hardcover that my father purchased at Macy’s (per the stamp on the back end paper) has been on my top shelf near the ceiling—a shelf of books that I rescued from death by mildew in my mother’s garage in the 1970s. A week ago, on impulse, I pulled it down and started reading. Why did I keep reading until page 318? I think because, fifty-some years after first having read it, I can articulate that Wolfe writes what I feel. His poetry—although a laborious read and sometimes almost adolescent in its verbosity—conveys the essence of what it is to be born “a stranger in a strange land,” to feel stuck between spirit and life in a body, to have memories that defy sentence-making, and rather than drown in all his words, at least for the first half of the book, I mostly inhaled them, trusting my brain-transcending comprehension.

And there are a lot of words—endless poetic streams that suddenly and unexpectedly are peppered with raucous, sly humor: the inanity of a conversation between a drunk and his wife and parodies of newspaper society pages and cheesy romantic novels:
“He crushed her to him in a fierce embrace; her slender body yielded to his touch as he bent over her; and her round arms stole softly across his broad shoulders, around his neck, drawing his dark head to her as he planted hungry kisses on her closed eyes, the column of her throat, the parted petals of her fresh young lips.” (105)
What fun Wolfe must have had writing this.

In 626* tightly printed, densely packed pages dripping and leaking and flooding and inundating your puny intake orifices with inky words (I’m demonstrating here, in case you’re taking me seriously. And FYI, Part 2 of the three parts gets so heavy with modifiers that it becomes almost funny. Can you follow this parenthetical bit? Sorry, but it’s nothing compared to the book itself.), Wolfe tells the story of his alter ego, Eugene Gant, born in 1900:
He felt, rather than understood, the waste, the confusion, the blind cruelty of their lives—his spirit was stretched out on the rack of despair and bafflement as there came to him more and more the conviction that their lives could not be more hopelessly distorted, wrenched, mutilated, and perverted away from all simple comfort, repose, happiness, if they set themselves deliberately to tangle the skein, twist the pattern. (136-137)
Alas, a little less than 200 pages later, I found myself skimming and then drowning, and decided that reading this once in a lifetime, even if I can’t remember it, will suffice.

Still there are things I admire here. Despite his excessiveness, Wolfe expresses the nuances of life and, with a sage’s X-ray vision, the many layers of Eugene Gant and all the people who surround him.
________

*I read the 1929 edition which was trimmed by 60,000 words at the bidding and hands of the immaculate editor Maxwell Perkins (see a wonderful movie about Perkins and Wolfe called Genius ) and is still torturously overwritten. In 2000, the original cuts were restored in a new edition; read at your own peril.

**Because it is 2016, I feel compelled to note the business-as-usual racism in the book for younger readers. This book would never be published now not only because of the overwriting but because the culture would not accept this expression of a white Christian’s take on Blacks and Jews. But if you can accept this kind of stuff as representative of the time when it was written, read it.
Profile Image for T.D. Whittle.
Author 3 books201 followers
February 10, 2019
Every culture has its southerners―people who work as little as they can, preferring to dance, drink, sing, brawl, kill their unfaithful spouses; who have livelier gestures, more lustrous eyes, more colorful garments, more fancifully decorated vehicles, a wonderful sense of rhythm, and charm, charm, charm; unambitious, no, lazy, ignorant, superstitious, uninhibited people, never on time, conspicuously poorer (how could it be otherwise, say the northerners); who for all their poverty and squalor lead enviable lives―envied, that is, by work-driven, sensually inhibited, less corruptly governed northerners. We are superior to them, say the northerners, clearly superior. We do not shirk our duties or tell lies as a matter of course, we work hard, we are punctual, we keep reliable accounts. . . . They caution themselves as people do who know they are part of a superior culture: we mustn't let ourselves go, mustn't descend to the level of the . . . jungle, street, bush, bog, hills, outback (take your pick). For if you start dancing on tables, fanning yourself, feeling sleepy when you pick up a book, developing a sense of rhythm, making love whenever you feel like it―then you know. The south has got you. ― Susan Sontag, The Volcano Lover: A Romance
He wanted opulent solitude. His dark vision burned on kingdoms under the sea, on windy castle crags, and on the deep elf kingdoms at the earth's core. He groped for the doorless land of faery, that illimitable haunted country that opened somewhere below a leaf or a stone. And no birds sing. ― Thomas Wolfe, Look Homeward, Angel
Warning: This is lush writing. This is blown roses, crushed on the sidewalk, releasing their heady scent into the muggy August night. It's unfaithful lovers swooning under the spell of a cheese-yellow moon, as bats flicker overhead. It's a sweaty, post-coital sprawl on a messy bed, and it is deep Southern Gothic. Do not read this book right now if you are really in the mood for Raymond Carver, because it will likely induce nausea and vomiting and the rending of garments or pages. I can go both ways, austere and overblown, but happen to be in mood these past several months where I am enjoying fat, dense, too-many-words books with my big ol' mugs of tea. I'm also preferring untidiness―the sweet disorder in the dress―the early, conspicuously imperfect works of writers who would later learn to polish away their rough, amateurish edges.

I can understand why this book has fallen out of favor these days. As I mentioned in one of my status updates, it has something in it to offend just about everyone. But, I think it's important to keep in mind that Wolfe was writing both a grand love song (that is also a threnody) to the South*, and a satire, that at times reaches lyrical heights worthy of the poets he so admires, and at times plummets into the hilarity and bawdiness of a good limerick. He is pointing a finger from the distance of the North and mocking what he was and, in part, still is (at the time of writing). He is cringing at the indecency and ignorance of his people and his home, too, whilst still loving them all passionately for being his. And for being, let's face it, what the North can never be: overblown, lush, lyrical, drunk with the smell of honeysuckle and jasmine on a hot summer night. Faulknerian. Deeply, unabashedly sensual.

Wolfe, in telling us (indirectly through the voice of Eugene Gant) about his home and his people, catches us at the core of our humanity; for who doesn't love their drunken, monstrous, bombastic lout of a father/grandfather/uncle and their penny-pinching, stubborn, bossy, and ignorant mother/grandma/aunt, despite their flaws, without which they would not be themselves but some impostor? How many of us have felt the impassable chasm that opens between us and our loved ones when we seek and find something beyond the life they have offered us, which inevitably alienates us from a world and a family who were once our whole existence?

Another title of Wolfe's is 'You Can't Go Home Again,' but in writing 'Look Homeward, Angel' Wolfe has tried to do that, at least in memory. He has reached back through time, raiding his sealed boxes from home, and produced a striking memoir-ish novel of his past.

My impression is that Wolfe wrote 'Look Homeward, Angel' as neither as an apology nor a defense of the South; rather, he presents his messy young life to us whole, as gilded as any art but also vulnerable in its expression. There is much in this book which is disgusting and shameful, and much that is tender and poignant. He knew that when he wrote it. He shows us the wild beauty and grandeur of his place and its people, whilst simultaneously exposing the tragedy and sorrow, the disease, decay, and corruption that exists beneath the surface of all life. That is his gift to himself, for one feels that writing this book must have been a profoundly cathartic experience for him, and to his readers. If you miss the integrity intrinsic to 'Look Homeward, Angel', you miss the whole point of the book, really. Wolfe has paid homage to what he both loves and despises and, in doing so, he reveals the tragicomedy of human existence. The love and hate exist side by side and cannot do without each other.

Having implied now that the book has a universality that throws a net across all human existence, I have to backtrack a bit. I read and understood this book, as a Southerner. I moved to Australia fifteen years ago, but my roots are the American South. My people, for generations back, are made up of English, Irish, French, and Spanish immigrants who settled in Louisiana, Arkansas, Tennessee, and Texas, starting in the 17th century. They fought in the Civil War, on the Confederate side. I don't know how people who aren't marinated in those particular juices make sense of this book at all, and I would not blame them if they couldn't.

I've often wondered that about Faulkner, too, though. Clearly, people around the world read Faulkner, but I assume they are missing some of the deeper chords, just as I suspect I miss things when I read books from other countries, especially in translation. Because the South is its own country, in the heart of its people born and bred there, and holds on to its own beliefs and customs, passing them down from generation to generation, even while all things change around it. As a woman who grew up in Texas but has never voted for a Republican, I can tell you that it is perfectly possible to simultaneously love and loathe the land that nourished you. I felt a deep simpatico with Wolfe's experience.

'Look Homeward, Angel' is lush and ascetic, harsh and generous, brimming with joy and screaming with rage and existential terror. It's a great book. I loved it. And some of it, I hated, too. I am perfectly comfortable with that and feel that it makes for an outstanding reading experience. The writing is exceptional, and I was reminded not only of Faulkner, whom I've mentioned, but also Milton and Shakespeare, and Spencer and Coleridge, all of whom are much admired by our narrator and Wolfe's alter ego, Eugene. But the book reminded me, too, of Joyce's 'Ulysses'. If one could use Ulysses, as Joyce hoped, to recreate Dublin, then one could use 'Look Homeward, Angel' to recreate a certain small city in North Carolina, at a certain point in time. The lyrical flights, the soliloquies, and the rhapsodic pleasures and pains, as they are spilled across the page, also made me think of 'Ulysses' repeatedly whilst reading.

I don't doubt that I have no hope of defending Wolfe against the stones thrown at his corpse by modern readers, for the anachronistic racism, sexism, and every other bad -ism you can think of, in this book, but I will leave this quote from the book, that he may speak for himself. The book must be read and understood as a whole, in the way that he intended it, or it ought not to be read at all. Which I think would be a great shame because it's magnificent.
His feeling for the South was not so much historic as it was of the core and desire of dark romanticism―that unlimited and inexplicable drunkenness, the magnetism of some men's blood that takes them into the heart of the heat, and beyond that, into the polar and emerald cold of the South as swiftly as it took the heart of that incomparable romanticist who wrote "The Rime of the Ancient Mariner," beyond which there is nothing. And this desire of his was unquestionably enhanced by all he had read and visioned, by the romantic halo that his school history cast over the section, by the whole fantastic distortion of that period where people were said to live in mansions, and slavery was a benevolent institution, conducted to a constant banjo-strumming, the strewn largesses of the colonel and the shuffle-dance of his happy dependents, where all women were pure, gentle, and beautiful, all men chivalrous and brave, and the Rebel horde a company of swagger, death-mocking cavaliers.

Years later, when he could no longer think of the barren spiritual wilderness, the hostile and murderous entrenchment against all new life―when their cheap mythology, their legend of the charm of their manner, the aristocratic culture of their lives, the quaint sweetness of their drawl, made him writhe―when he could think of no return to their life and its swarming superstition without weariness and horror, so great was his fear of the legend, his fear of their antagonism, that he still pretended the most fanatic devotion to them, excusing his Northern residence on grounds of necessity rather than desire.
***

* What is the American South? It has come to my attention recently that there is some confusion about what states make up the "South" and the "Deep South," or "Dixie," terms which are culturally more significant than mere geography would explain. It's probably helpful to understand some of this before reading Look Homeward, Angel, because the book is so deeply Southern and reflects the codes and myths by which Southerners live.
The Confederate States of America (CSA or C.S.), commonly referred to as the Confederacy and the South was an unrecognized country in North America that existed from 1861 to 1865. The Confederacy was originally formed by seven secessionist slave-holding states—South Carolina, Mississippi, Florida, Alabama, Georgia, Louisiana, and Texas—in the Lower South region of the United States, whose economy was heavily dependent upon agriculture, particularly cotton, and a plantation system that relied upon the labor of African-American slaves.

Each state declared its secession from the United States, which became known as the Union during the ensuing civil war, following the November 1860 election of Republican candidate Abraham Lincoln to the U.S. presidency on a platform which opposed the expansion of slavery into the western territories. Before Lincoln took office in March, a new Confederate government was established in February 1861, which was considered illegal by the government of the United States. States volunteered militia units and the new government hastened to form its own Confederate States Army from scratch practically overnight. After the American Civil War began in April, four slave states of the Upper South—Virginia, Arkansas, Tennessee, and North Carolina—also declared their secession and joined the Confederacy. The Confederacy later accepted Missouri and Kentucky as members, although neither officially declared secession nor were they ever largely controlled by Confederate forces; Confederate shadow governments attempted to control the two states but were later exiled from them.

Though often used in history books to refer to the seven states that originally formed the Confederacy, the term "Deep South" did not come into general usage until long after the Civil War ended. Up until that time, "Lower South" was the primary designation for those states. When "Deep South" first began to gain mainstream currency in print in the middle of the 20th century, it applied to the states and areas of Georgia, southern Alabama, Florida, Mississippi, north Louisiana, and East Texas, all historic areas of cotton plantations and slavery. This was the part of the South many considered the most "Southern."

Later, the general definition expanded to include all of South Carolina, Georgia, Alabama, Mississippi, and Louisiana, and often taking in bordering areas of East Texas and North Florida. In its broadest application today, the Deep South is considered to be "an area roughly coextensive with the old cotton belt from eastern North Carolina through South Carolina west into East Texas, with extensions north and south along the Mississippi."
Profile Image for Maria Thomarey.
529 reviews61 followers
May 5, 2017
2,5 δεν ξέρω γιατι , αλλα το βαρέθηκα . Αρχίζω να πιστευω πως εχω θεμα με την αμερικανική λογοτεχνία . Ή απλως ηταν bad timing ... Ποιος ξέρει ;
Profile Image for B. Faye.
242 reviews58 followers
April 6, 2019
DNF I give up !! Life is too short to waste time on books you dislike and this one has the most annoying and boring characters ever with descriptions that drag on for ever!
Profile Image for David Spencer.
24 reviews1 follower
January 17, 2021
Granted, I went into this book wanting to like it. I had heard good things from Kurt Vonnegut saying it changed his life when he read it around the age of graduation from college and from another writer who said it impacted him. But I believe Thomas Wolfe's first novel here is an exceptional work and one of the best coming-of-age stories for anyone that enjoys the Bildungsroman novels and is fairly literary.

I am not certain that someone who is not an English major or a lover of long and in-depth literature would enjoy this. I'm an English teacher and I naturally fell in love with at least 25 passages in this book. They just knocked me off my chair they were so powerful.

I would like to assert that this book is not as "flowery and lyrical and poetic" as many people seem to make it out to be. Granted, there are about a dozen paragraphs in the novel that contain refrains of "O Lost!" and the Preface is basically a prose poem, but once you get past all the initial stuff, it is a very lively and, at times, dialogue-driven book. Most people's reviews are so heavily concentrated on the first few pages...but this is a long book and has so much more to it than the beginning with "Which one of us has known our brother?" and so forth.

A lot of people also seem to say this book doesn't age well over time and re-reading it later in life doesn't work as well. I am only 22 right now, but again, the only examples I've seen given are from the preface and the first page of Chapter One. It is a lively book that is not rooted in symbolism or even much subtext, but just a close depiction of what life is, why it is lonely, and how different people make up for it.

If you are not hooked by the time Eugene Gant is born and the narrative shifts in tone and style and jumps of the page before page 100, then you probably shouldn't read the rest of the book. But odds are, you'll see why Thomas Wolfe was so striking to readers in the late 20s and 30s.
Profile Image for Libros Prestados.
450 reviews917 followers
August 20, 2022
"En busca del tiempo perdido" con ruedines. Con esto quiero decir que si a alguien le intimida mucho el clásico francés, puede comenzar con "La mirada del ángel", que es más asequible (por extensión, pero también es probable que por estilo). También esta novela habla del recuerdo, aunque en este caso Wolfe no tiene esa intención de conservar en ambar una sociedad o un grupo social, sino hablar del paso a la madurez de un muchacho y de su loca, loca familia.

Hay que tener en cuenta de que estamos hablando de personas blancas en el sur de EEUU a principios del siglo XX, con lo que eso conlleva de racismo y antisemitismo implícito del que el protagonista no puede huir del todo. Pero la novela en sí está tan centrada en las vivencias del protagonista y su familia que todo lo demás está en segundo plano. Está ahí, y a veces es más obvio, pero es como vivía una familia de blancos de esa clase social en ese tiempo.

El lenguaje es muchas veces poético, aunque a veces roce la sensiblería, pero lo entiendo, porque Eugene, el protagonista, es un chaval que se lo toma todo muy a pecho.

La novela no tiene trama definida, el autor te inunda en palabras, no pasa prácticamente nada (salvo la vida), los personajes son a veces odiosos (como solo los seres humanos pueden serlo) y sin embargo no se me hizo aburrida en ningún momento. Me costó leerla, porque es densa, quieras que no, pero no me pareció tediosa. Al final la familia de Eugene es un poco la tuya, y al final, sientes como él esa necesidad de alejarte, aunque sean lo único que tiene.

No diré que es una novela para todos los públicos, pero si os gustan las historias sobre familias podéis darle un tiento.
Profile Image for David Lentz.
Author 17 books331 followers
June 21, 2011
When Thomas Wolfe is at his best, his writing is inspired, lyrical and athletic. Clearly, the work may be considered by some to be self-indulgent as the story line stays pretty close to home. Home is located in the hills of western North Carolina at his mother's boarding house, Dixieland. When a writer is fixed on his or her autobiography, and in Wolfe's case this involves his childhood, early youth and college education, the writing seems more non-fiction than fiction. This story is essentially Wolfe's autobiography like a novel from Proust. I wished that his jazz riffs from his personal experience were somewhat more improvizational and that he had ventured a bit further in his storyline as often this is a sign of immature talent in a novelist. But Wolfe's theme is home, after all, and if you enjoy coming-of-age stories, then you can savor this one. Wolfe does prove his real talent when he gets caught up in the mysticism of the moment and to his credit when he does so, his prose launches into a higher angelic ionosphere. His vocabulary is impressive and the writing, in many places, is so good that I found myself slowing down simply to savor the beauty of his use of language. Wolfe was relatively young when he wrote this novel and it brims with idealism and vitality and energy. This novel is an American classic of the South and well worth the reading for Wolfe's pure lyricism alone.
Profile Image for Martín Gallego.
59 reviews6 followers
April 22, 2022
Siento que debo hacer una reseña, no hago una desde que fui internado en el hospital en Enero.

La mirada del Ángel es ya sin lugar a dudas uno de mis libros favoritos de toda la vida. He tenido una conexión con La familia Gant que no puedo explicar en palabras.

”¿Acaso no podremos vivir nunca solos, pensar a solas, vivir en una casa a solas? ¡Ah! ¡Pero yo sí que lo haré! ¡Yo sí! Solo, solo, y lejos, bajo la lluvia.”

Thomas Wolfe volcó todo en este libro; nos habla de la familia pero sin esas romantizaciones que se hacen a menudo, de la muerte, del paso del tiempo, de ese sentimiento de desapego, de no pertenecer, de estar perdido, pero sobre todo de intentar encontrarse a uno mismo. Todo esto mientras retrata el sur de EE.UU de aquella época, con el racismo, la precariedad laboral, y la situación de la mujer, así como los efectos de la primera guerra mundial. Todo esto con unos personajes tan vivo, tan reales que nunca olvidaré.

Además no puede faltar su estilo narrativo de Wolfe, sentimentalista y evocador, impetuoso y bellamente descriptivo.

He quedado fascinado por el autor, gracias a Trotalibros y a Miguel Ángel Pérez Pérez por esta maravillosa edición y traducción. Ahora me buscaré las otras obras del autor.
Profile Image for Larry Bassett.
1,534 reviews328 followers
August 8, 2014
I have been trying to read this book for decades. Literally decades. So, since it has been chosen for the July 2014 read for the GR group On the Southern Literary Trail, I have another chance. Maybe reading it with a group will be the magic I need.

This book is over 500 pages in its original hardcover format and just chuck filled with detail. Here we have a paragraph about Eugene, our protagonist, in his youth:
There was in him a savage honesty, which exercised an uncontrollable domination over him when his heart or head were deeply involved. Thus, at the funeral of some remote kinsman, or of some acquaintance of the family, for whom he had never acquired any considerable affection, he would grow bitterly shamefast if, while listening to the solemn drone of the minister, or the sorrowful chanting of the singers, he felt his face had assumed an expression of unfelt and counterfeited grief: as a consequence he would shift about matter-of-factly, cross his legs, gaze indifferently at the ceiling, or look out of the window with a smile, until he was conscious his conduct had attracted the attention of people, and that they were looking on him with disfavor. Then, he felt a certain grim satisfaction as if, although having lost esteem, he had recorded his life.

This is on page 96 with a promise of over four hundred pages to go! (I glance about trying to mask a look of horror with a patient smile.)

Part one of the three part story ends about one-quarter through the book with Eugene and his mother traveling back to the North Carolina mountains from a trip into the deep South that had a lasting impression on our twelve year old centerpiece whose life experience is well beyond his young years.
The commonness of all things in the earth he remembered with a strange familiarity – he dreamed of the quiet roads, the moonlit woodlands, and he thought that one day he would come to them on foot, and find them unchanged, in all the wonder of recognition. They had existed for him anciently and forever.

I am reading Look Homeward, Angel simultaneously moving the bookmark in the hard cover and following the text on the Kindle screen as I listen to the Audible recording. As if that is not enough, I follow the summary at eNotes.com at the beginning and end of each chapter. This is got to be an overdone compulsion that drives me on. Sometimes I just listen to the Audible words as they wash beautifully over me – just for a sentence or paragraph least I lose my place – and have those few seconds of enjoyment when I am not puzzling the inaction or the meaning. I once carried a canvas newspaper sack as the young Eugene does but never with such poetry.
At first, the canvas strap of the paper-bag bit cruelly across his slender shoulders. He strained against the galling weight that pulled him earthwards. The first weeks were like a warring nightmare: day after day he fought his way up to liberation. He knew all the sorrow of those who carry weight; he knew, morning by morning, the aerial ecstasy of release. As his load lightened with the progress of his route, his leaning shoulder rose with winged buoyancy, his straining limbs grew light: at the end of his labor his flesh, touched sensuously by fatigue, bounded lightly from the earth.

Eugene continues to grow up torn between two very different parents. His mother smothers him. His father is harsh. He is “not quite sixteen years old when he is sent away to the university.”
"He's ready to go," said Gant, "and he's going to the State University, and nowhere else. He'll be given as good an education there as he can get anywhere. Furthermore, he will make friends there who will stand by him the rest of his life." He turned upon his son a glance of bitter reproach. "There are very few boys who have had your chance," said he, "and you ought to be grateful instead of turning up your nose at it. Mark my words, you'll live to see the day when you'll thank me for sending you there. Now, I've given you my last word: you'll go where I send you or you'll go nowhere at all."

Part Three of the book begins somewhat less than two-thirds of the way through the book with the start of Eugene’s university career. He has been a precocious scholar in the private school he attended at home in Altamont. Now he heads out to live apart from his family. I am going to give you some chunks of the text now to give you your own taste.

Eugene begins his time at the university:
Eugene's first year at the university was filled for him with loneliness, pain, and failure. Within three weeks of his matriculation, he had been made the dupe of a half-dozen classic jokes, his ignorance of all campus tradition had been exploited, his gullibility was a byword. He was the greenest of all green Freshmen, past and present: he had listened attentively to a sermon in chapel by a sophomore with false whiskers; he had prepared studiously for an examination on the contents of the college catalogue; and he had been guilty of the inexcusable blunder of making a speech of acceptance on his election, with fifty others, to the literary society. And these buffooneries--a little cruel, but only with the cruelty of vacant laughter, and a part of the schedule of rough humor in an American college--salty, extravagant, and national--opened deep wounds in him, which his companions hardly suspected. He was conspicuous at once not only because of his blunders, but also because of his young wild child's face, and his great raw length of body, with the bounding scissor legs. The undergraduates passed him in grinning clusters: he saluted them obediently, but with a sick heart. And the smug smiling faces of his own classmen, the wiser Freshmen, complacently guiltless of his own mistakes, touched him at moments with insane fury.

Wolfe describes the campus life with some humorous depreciation:
In this pastoral setting a young man was enabled to loaf comfortably and delightfully through four luxurious and indolent years. There was, God knows, seclusion enough for monastic scholarship, but the rare romantic quality of the atmosphere , the prodigal opulence of Springtime, thick with flowers and drenched in a fragrant warmth of green shimmering light, quenched pretty thoroughly any incipient rash of bookishness. Instead, they loafed and invited their souls or, with great energy and enthusiasm, promoted the affairs of glee-clubs, athletic teams, class politics, fraternities, debating societies, and dramatic clubs. And they talked--always they talked, under the trees, against the ivied walls, assembled in their rooms, they talked--in limp sprawls--incessant, charming, empty Southern talk; they talked with a large easy fluency about God, the Devil, and philosophy, the girls, politics, athletics, fraternities and the girls--My God! how they talked!

Part of the background of the book is the Great War (WWI). Alcohol is also a reoccurring theme and Eugene at the age of seventeen discovers that he is his father’s son.
The terrible draught smote him with the speed and power of a man's fist. He was made instantly drunken, and he knew instantly why men drank. It was, he knew, one of the great moments in his life— he lay, greedily watching the mastery of the grape over his virgin flesh, like a girl for the first time in the embrace of her lover. And suddenly, he knew how completely he was his father's son--how completely, and with what added power and exquisite refinement of sensation, was he Gantian. He exulted in the great length of his limbs and his body, through which the mighty liquor could better work its wizardry. In all the earth there was no other like him, no other fitted to be so sublimely and magnificently drunken. It was greater than all the music he had ever heard; it was as great as the highest poetry. Why had he never been told? Why had no one ever written adequately about it? Why, when it was possible to buy a god in a bottle, and drink him off, and become a god oneself, were men not forever drunken?

Eugene’s rage over his lot in life finally explodes. This is a family that regularly rages.
"I've been given nothing !" said Eugene, his voice mounting with a husky flame of passion. "I'll go bent over no longer in this house. What chance I have I've made for myself in spite of you all, and over your opposition. You sent me away to the university when you could do nothing else, when it would have been a crying disgrace to you among the people in this town if you hadn't. You sent me off after the Leonards had cried me up for three years, and then you sent me a year too soon--before I was sixteen--with a box of sandwiches, two suits of clothes, and instructions to be a good boy."

The book goes on to cover continuous family drama in Eugene’s life until just after his college graduation when he is nineteen and deciding what to do next in his young life.

This book has been too long and tedious. But the writing is often beautiful – just too much of it! How could those two statements be true at the same time? I want to skim though sections but skimming is not a skill that I have. I listened to the Audible recording of the book while I followed along on the Kindle. That is my technique to keep moving through the pages. I am not registering every word all the time and sometimes would have a hard time summarizing the story after I have heard it. That is why I read the summaries at eNotes.com, usually before and after I listened to a chapter. Sounds confusing and time consuming, doesn’t it?

I spent a good deal of time banging this long story into my eyes and ears and hoping that my brain would hang on to some of it! And it worked somewhat! But the effort I made was too great to lead to a result that was much better than OK. At its most successful moments, this was a three star book for me; this occurred mostly after the time when Eugene left home for college. But the book as a whole just was not rewarding enough to earn more than two stars from me. I want to cheer that I have at last read this book and post my Certificate of Accomplishment, and, thanks to Audible, I must say that I have actually heard almost all the book. I mark it up as a completed task but clearly not one that causes me to recommend this particular classic to others.
Profile Image for María Carpio.
246 reviews102 followers
March 31, 2024
"Must be talking to an angel", Annie Lennox dixit. Con esta canción en mi mente inicia y termina esta novela. De ahí su nombre. El ángel de mármol es un contrasentido: su material límpido, opaco y helado, pesado, invariablemente estático, nunca más inanimado, es el opuesto absoluto de lo que es un ángel en la mitología judeocristiana. Nada más ligero, nada más cálido, límpido y traslúcido, etéreo, eternamente móvil y animado. Y esta paradoja creo que es el corazón profundo de esta novela, que no solo es el encuentro -como con la figura del ángel- de la realidad y la ficción, sino de lo material y lo inmaterial, de la vida y la muerte, del yo y los otros, de lo terrenal y lo etéreo, de la carne y el espíritu, de la mente y el cuerpo, del amor y el desamor (un poco más de lo segundo), y de las paradojas de lo humano. Aunque quizás veamos más las mezquindades que las virtudes dentro del universo familiar que se nos presenta.

Los Gant Pentland. Una familia norteamericana de inicios del siglo XX, en la que la veleidosidad parecería una marca de cuna. Unos padres, Eliza y Gant, completamente alejados del modelo amoroso y de cuidados que forma parte del estereotipo de las familias modelo. Ellos son egoístas, avaros y negligentes. Pero no es una familia pobre, sino todo lo contrario, aunque hacen pasar a sus hijos por penurias en un movimiento automático e inconciente de autoconmiseración y autocomplacencia. Los hijos, Steve, Ben, Daysi, Helen, Luke y Eugene, unos más retratados que otros, terminan moviéndose al son del caos y el orden familiar. Unos con mayor suerte que otros, pero ninguno con una vida plena. Todos parecen estar atrapados en esa red enmarañada que puede ser la familia y la sangre. Y aquí tenemos a Eugene, el benjamín, nacido con el siglo XX, desatendido desde su nacimiento, atropellado por una carreta con caballo al salir por un descuido gateando a la calle. Queriendo huir desde que nació... Eugene, brillante en los estudios, intelectual, niño erudito, el alter ego de Thomas Wolfe, es el protagonista de esta novela, por quien pasa la vida como si un ángel de mármol animado le susurrase algo...

Se trata de una novela novedosa e innovadora para su época que incluye varios géneros, estilos, motivos y ejes temáticos. La narrativa de algunos pasajes recuerda a la técnica de la conciencia interior al estilo Joyce y algunas veces también a la de la observación del exterior desde la conciencia interior del personaje, al estilo Faulkner, quien declaró que Wolfe era el mejor escritor norteamericano de su tiempo. Dentro de ese uso del monólogo interior, hay cambios de narrador de gran sutileza y maestría (va de la tercera a la primera persona). Respecto a la temática, tenemos una saga de familia por un lado y una bildgunsroman (novela de iniciación), por otro. Una novela costumbrista-naturalista en algunas partes, aunque en general, se la puede enmarcar en el realismo lírico sureño norteamericano, pero también es a la vez una auto-ficción (basada en Wolfe y en su familia) y una novela existencialista.

Eugene es un personaje que va en busca de sí mismo, fuera de los condicionantes de su sangre, de su familia. Él es el Otro, antagoniza con ellos. No obstante, es muy decidor que en el entierro de Ben, su hermano, Eugene reconozca que él también es uno de ELLOS, que tiene todo lo de su familia dentro de sí, y que el único que era en verdad diferente era Ben y tuvo que morir, quizás para escapar. Pero esto, tal vez, es lo que ve en ese momento de temprana juventud como una cárcel de la que intenta huir. Observo una intención bastante metafórica del autor en la idea de que no hay forma de librarte del lugar de donde vienes. Remarcable también aquí el peso puesto en el linaje familiar, lo gantiano o lo Pentland, igual que lo karamazoviano en Los hermanos Karamázov, lo cual es planteado como un determinismo genético, quizás por la epoca en la que fue escrito, la mentalidad era esa. Hoy se sabe que todo rasgo genético depende del ambiente también, no es un determinante. Lo de no poder librarse del lugar de donde se viene también se ve en el capítulo final. ¿Es Eugene delirante? ¿Está loco o es solo un excéntrico? O acaso la locura como metáfora del salirse de la norma de la sociedad es la única forma de librarse de la condena del peso de la sangre.

Por otro lado, es interesante toda la observación que hace de la sociedad norteamericana, por ejemplo, en una parte señala que al estadounidense no le interesa qué ideología o partido político les gobierne, con tal de que tenga bienestar y prosperidad económica. Aquí algo crucial que también aborda cuando narra la aventura escolar y colegial (de college) de Eugene, es que en los EEUU la educación es liberal y humanista, pero al salir al mundo laboral, todo es el capital. En algún lugar leí que aquello era irónico porque los universitarios son preparados en una sensibilidad intelectual y artística que luego nunca más la aplican, poque todo lo demás es comercio, dinero, ultra-capitalismo. Y la propia Eliza, la madre, es una metáfora de ello. La mujer pasa más preocupada por la especulación inmobiliaria y de hacer dinero, que de sus propios hijos. Incluso cree que todas las enfermedades "son imaginarias" aunque vea a su propio hijo muriendo. Los personajes son metáforas de la sociedad americana, pero también son metáforas de sí mismos, es decir de los seres humanos. Son exploradas las bajas pasiones, los sentimientos oscuros, la codicia, la avaricia, la mezquindad, el egoísmo, la envidia, la falta de solidaridad. Todo aquello que las personas y las familias esconden bajo la alfombra pero está ahí.

Y después están todos los cuestionamientos existenciales y filosóficos de Eugene, nuevamente el tema de la existencia de Dios, las convenciones sociales, y el bien y el mal que subyace a todo. Y también el Yo, el gran yo, la construcción de la persona, de quien se debate entre un sentimiento de miseria y grandiosidad, el auto-maravillarse de Eugene, el ego desmedido y delirante (en una parte en la que se declara el dios de todo, el salvador de la humanidad, el más grande de los hombres), pero que a la vez, como el resto de estadounidenses (lo dice en el libro) era incapaz de ninguna rebeldía que alterarse el orden social. Todo lo que bulle en él no sale de su ensimismamiento. Es inmanencia que busca trascendencia y no sabe cómo alcanzarla... Y como es un personaje basado en sí mismo (en el autor), pues ya sabemos que logró trascender. Esta novela simplemente ilustra el punto de quiebre en su vida, el inicio del Yo (una vez desprendido de su familia). La gran escisión de la persona. Por eso es una bildgunsroman.

Por último, quiero destacar la belleza del capítulo final con los ángeles cobrando movimiento mientras Eugene charla con el ¿espectro? de su hermano Ben, y luego quedándose inmóviles otra vez con la aurora. Es maravilloso. Un pequeño tinte de realismo mágico para cerrar... Esa escena, las de Gant padre -que es marmolista- hablando o llorando al ángel de mármol en su taller, y las fantásticas escenas en las que el tiempo se paraliza (como en la posterior novela de Elena Garro, Los recuerdos del porvenir) me trajeron a la memoria la canción de Annie Lennox, "There must be an angel, playing with my heart"... Habrá que leer la continuación de esta novela, Del tiempo y el río. Un pionero de la autoficción Wolfe, pero de otro nivel. Recomendada al cien.
Profile Image for Conrad.
200 reviews369 followers
March 26, 2007
The first line: "A destiny that leads from the English to the Dutch is strange enough..." Oh, really? This book has definitely not aged well; he has little sympathy for people who are so far outside the right people as to not be of English stock - I would guess he thought being a Yankee well nigh unforgivable.

That said, there's something haunting about Wolfe's prose, which often reads almost like prose poem: "Which of us has not remained forever prison-pent? Which of us is not forever a stranger and alone? O waste of loss, in the hot mazes, among bright stars on this most weary unbright cinder, lost! Remembering speechlessly we seek the great forgotten language, the lost lane-end into heaven, a stone, a leaf, an unfound door. Where? When?"
Profile Image for Kansas.
663 reviews348 followers
February 11, 2022
"Eugene tenía casi doce años. Su infancia había quedado atrás. Al avanzar la primavera sintió, por primera vez, toda la delicia de la soledad. Envuelto en su fino camisón, se plantaba en la oscuridad detrás de la ventana que daba al huerto en el cuarto trasero de la casa de Gant, absorbiendo el aire dulce, exultando en su aislamiento en la sombra, oyendo el extraño gemido del silbato del tren que se dirigía al oeste."

El Angel Que Nos Mira se podría considerar una novela de iniciación porque es la historia de Eugene Grant desde que nace hasta que alcanza sus 19 años. Thomas Wolfe continuaría con las andanzas de Eugene en posteriores novelas (ambas publicadas en castellano por la Piel de Zapa), que por supuesto pretendo leer, porque aunque ha sido una lectura densa, absorbente y difícil en muchos momentos, también es verdad que me ha subyugado la forma en que Wolfe nos implica en la vida de la familia Gant. El mismo Wolfe es una especie de alter ego de Eugene Gant porque realmente nos está hablando de su vida en Ashville, reconvertida en Altamont en la novela y nos está contando quiénes fueron sus padres, Eliza y Gant en la novela, ella dueña de una casa de huéspedes tacaña y distante, y él un marmolista, alcoholico redomado, unos padres que definirán y marcarán profundamentela evolución de esta familia algo disfunional y única en muchos aspectos.

"-Vamos, no es hora de soñar despierto. A quien madruga, Dios le ayuda; ya es hora de que salgamos a la calle.
Y aunque su alusión al soñar despierto era solo parte del axiomático mosaico de su lenguaje, Eugene se sobresaltaba y se sentía confuso, pensando que su mundo secreto, tan celosamente guardado, se había revelado y puesto en ridículo."


Asi que nos encontramos ante la que es una de las grandes novelas americanas, alabada por el mismo William Faulkner que consideró a Thomas Wolfe como el autor más importante americano de su generación. La novela está localizada en un hogar rural de Carolina del Norte, y en ella Thomas Wolfe nos sumerge en la vida del hijo menor de los Gant Eugene, que desde pequeño se encuentra algo desubicado en una familia conflictiva con unos padres continuamente a la greña y con unos hermanos que podrían haber sido sus referentes, pero no lo son porque él ansía otra cosa; Eugene destaca porque será el primero de su familia que le dedica demasiada atención a los libros y casi en contra de los deseos de sus padres, consigue estudiar y finalmente ir a la Universidad.

"Además, cada año se encerraba más en su vida secreta, algo extraño y salvaje florecía oscuramente en su cara, y, cuando ella le hablaba, sus ojos se llenaban de sombras, de grandes barcos y ciudades."

La verdad es que lo que me más me ha fascinado es como Wolfe nos implica en la vida de esta familia, los Gant, extraños y despegados y sin embargo, muy reales y terrenales. El estilo de Thomas Wolfe es muy elaborado en el sentido que le presta mucha atención a los detalles, con momentos muy líricos, tanto que hay frases que parecen pequeñas piezas poéticas, este estilo se entremezcla con momentos con mucho del sentido del humor y en otros sin embargo, la angustia existencial campa a sus anchas, giros estilísticos y capas que se van desvelando y resultan sorprendentes para el lector. Por otra parte, también se nota ese carácter semi-autobiográfico por muchos momentos que no podrían haber sido escritos a menos que el autor los hubiera vivido, es algo que siente el lector firmemente a medida que la lectura avanza, momentos relacionados con el alcoholismo del padre, con el primer amor de Eugene o incluso casi al final cuando Eugene tiene su primer acercamiento a la muerte. Estos momentos son totalmente impagables, muy universales y están relatados por Thomas Wolfe a flor de piel. La vida en el pueblo de Altamont y los personajes que se entrecruzan en Dixieland, la casa de huéspedes de la madre, convierten esta novela a veces en una especie de colección de relatos cortos que resultan prodigiosos porque son personajes que perdurarán ya en el recuerdo. Eliza, Helen, Gant, Ben… personajes que me han calado muy profundamente.

"Los meses que siguieron, serán resumidos brevemente, sin hacer apenas mención de los hombres y de las acciones con que se tropezó el muchacho perdido. Pertenecen a una historia de evasión y vagabundeo,y servirán aquí para indicar la iniciación al viaje que realizará su vida.Son un preludio del destierro, y en un caos de pesadilla solo debe verse el ciego andar a tientas de un alma hacia la libertad y el aislamiento."

En definitiva, se podría decir también que es una novela en la que sientes en cada página el deseo de Eugene Gant de escapar de la claustrofobía de ese pueblo cerrado, y al mismo tiempo de liberarse del yugo emocional de esa familia conflictiva, unos lazos familiares que son como una cadena invisible y la forma en que Wolfe va elaborando ese crecimiento personal de Eugene, haciéndole convertirse en adulto a través de varias experiencias que le marcarán, convierten esta primera obra de Thomas Wolfe en un clásico en todo el sentido de la palabra. La traducción es de Maritza Izquierdo.

"Era como si hubiese muerto y renacido. Todo lo pasado vivía ahora en un mundo fantástico. Pensaba en su familia, en Ben, en Laura James, como si fuesen fantasmas. El propio mundo se había convertido en un fantasma."

https://kansasbooks.blogspot.com/2022...
Profile Image for Diane Barnes.
1,372 reviews449 followers
March 7, 2015
In revisiting this novel, I found it to be very different from the masterpiece I considered it to be in my 20's. I would have rated it a 5 star at that point in my life, because it rang so true. It no longer resonates in the same way because (maybe sadly) I no longer have the patience for a young man who just wants to get away, from parents, friends and hometown, and rails against them incessantly. The writing is still lyrical, and thank goodness I can appreciate that. Good-bye Thomas Wolfe, nice running into you again, but our relationship is no longer a close one. I'm going to give a little more thought to rereading a favorite book in the future, it's too disappointing when it doesn't work out.
Profile Image for Rebecca.
1,215 reviews110 followers
September 7, 2013
I understand that this book is considered to be deeply influential to a number of respected 20th century writers. And I realize that a number of the passages are experimental and ground-breaking.

That said, my god, this is the one of the most over-written, purple, maudlin, and pretentious things I've read in some time.

There's essentially no plot. As far as I can tell, none of the characters have an arc to speak of. I think the fact that all of the family members are contradictory is supposed to make them nuanced, but they're just caricatures. He's a fluent drunkard, she's cruelly mothering, and so on. Every single person is bitter. Our protagonist claims to have been manipulative and desperate to escape from infancy onward. The idea that this is somewhat autobiographical is horrifying from the perspective that a child grew up in an environment like this, but also that the author seems to think that his conduct makes him admirable in any way. Eccentricity is not automatically a mark of genius--a tendency to bray in people's faces just makes you an ass.

And if I had to read the phrases "o lost!" or "a stone, a leaf, a door" one more time, I think I would have hurled the book at the wall.

The author mistakes wordiness for wisdom and misanthropy for profundity. Really, a waste of time.
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