Reference Guide to W ORLD L ITERATURE THIRD EDITION VOLUME 2 Reference Guide to W ORLD L ITERATURE THIRD EDITION Volume 2 WORKS INDEX EDITORS SARAH PENDERGAST and TOM PENDERGAST ST. JAMES REFERENCE GUIDES American Literature English Literature, 3 vols. French Literature, 2 vols. Holocaust Literature Short Fiction World Literature, 2 vols. Reference Guide to World Literature, 3rd edition Sara and Tom Pendergast Project Editor M. Gareffa, Margaret Mazurkiewicz, Carol Kristin Hart A. Schwartz, Christine Tomassini, Michael J. Tyrkus Editorial Erin Bealmear, Joann Cerrito, Jim Craddock, Manufacturing Stephen Cusack, Miranda H. Ferrara, Peter Rhonda Williams ©2003 by St. James Press. 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PN524.R44 2003 809—dc21 2002015410 ISBN: 1-55862-490-2 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 CONTENTS EDITOR’S NOTE vii INTRODUCTION ix ADVISERS xi CONTRIBUTORS xiii ALPHABETICAL LIST OF WRITERS AND WORKS xvii CHRONOLOGICAL LIST OF WRITERS xxv ALPHABETICAL LIST OF WORKS xxxi CHRONOLOGICAL LIST OF WORKS xxxvii REFERENCE GUIDE TO WORLD LITERATURE AUTHORS A-Z 1 REFERENCE GUIDE TO WORLD LITERATURE WORKS A-Z 1125 NOTES ON ADVISERS AND CONTRIBUTORS 1591 LANGUAGE INDEX 1615 TITLE INDEX 1623 EDITOR’S NOTE You are holding in your hands the third edition of the Reference Guide to World Literature, the second edition of which was published in 1995 and was itself an updated and expanded edition of Great Foreign Language Writers, published in 1984. Expanding on the coverage of these earlier works, the present edition contains some 1100 entries, divided nearly evenly between entries on writers and literary works. The scope of the Reference Guide spans recorded history and reaches up to the present. The Reference Guide to World Literature contains two distinct types of entries: those covering the work of an author and those covering a literary work. Each author entry begins with a biographical summary of the subject and includes details (where known) of the author’s birth, education and training, military service, family, career, awards, honors, and honorary degrees. Then follows a selected list of publications by the author, and a selected list of bibliographical and critical works about the author. Finally, each author entry contains a signed critical essay which assesses the author’s work, reputation, and influence. Each entry on a literary work contains a brief header indicating the author and date of creation and a signed critical essay. In the case that the author of the literary work is unknown, an introductory section provides information about the known circumstances of the work’s creation and a brief listing of critical studies about the work. The publications section of the author entries attempts to account for all separately published books by the author, including translations into English. Broadsheets, single sermons and lectures, minor pamphlets, exhibition catalogs, etc., are omitted. Dates refer to the first publication in book form unless indicated otherwise; we have attempted to list the actual year of publication, which is sometimes different from the date given on the title page. Reprints of works including facsimile editions are generally not listed unless they involve a revision of the title. Titles are given in modern spelling and are often in ‘‘short’’ form. They are always in italic, except for those that are literal (i.e. non-published) translations, which appear in square brackets. The publication list may contain some or all of the following categories: Collections: This contains a selection of ‘‘standard’’ editions, including the most recent collection of the complete works and of the individual genres (verse, plays, fiction, etc.). For those collections published after the author’s death, only those that have some editorial authority are cited. Fiction: Where it is not made apparent by the title, collections of short fiction are indicated by the inclusion of ‘‘stories’’ in parentheses after the title. Verse: This includes collections and individual poems that were published in book form, listed chronologically by date of publication. Plays: This includes original plays, adaptations, and other works for the stage (libretti, ballet scenarios, etc.). Dates for both publication and production are given. Titles are arranged chronologically by date of first performance or date of first publication, whichever is earliest. Published English translations are listed, but not those of individual productions. Screenplays/Television Plays/Radio Plays: These categories include original works and adaptations for these media, listed by date of release or first broadcast. Other: This includes publications that do not fit readily into the above categories, principally miscellanies and nonfiction writing, such as journalism, essays, theoretical works, travel writing, memoirs, letters, etc. A separate section contains selected works about the author. This section may contain one or both of the following categories: Bibliography: This includes published works relating to primary and secondary literature. General bibliographies of literary periods, genres, or counties, etc., are rarely listed. Critical Studies: This includes critical works and biographies of the subject, listed in chronological order of publication. This section concentrates on book-length studies in English published after 1945, although in a few cases selected earlier material is cited. Where there is a noticeable scarcity of critical works in English, publications written in the subject’s own language are included. On occasion articles, usually written in English, have also been listed. vii EDITOR’S NOTE REFERENCE GUIDE TO WORLD LITERATURE, 3rd EDITION This book concludes with a Title Index to the publications lists. This contains titles of all works listed in the fiction, verse, and plays sections of each entry including titles in the writer’s original language and English translations, as well as selected important works of nonfiction. ACKNOWLEDGMENTS A reference work such as this is the product of many hands. Our thanks begin with Steven Serafin, whose guiding hand in selecting advisers and entries and whose expertise with the languages represented in this collection were indispensable. We would like to thank our advisers for their skill and expertise in selecting suitable entrants to include in this edition. Thanks also to the authors of the entries; many of these authors are the acknowledged authorities on their subject, and their expertise and acumen can be clearly seen in their thoughtful introductions to each of the subjects. We would like to thank our copyeditors, Jennifer Wallace and Michael Najjar, as well as our contacts/friends Kristin Hart and Peter Gareffa at St. James Press. Finally, we would like to thank all those at St. James Press whose names we do not know, but who help turn the electronic files that we work with into the reality that you hold today. viii INTRODUCTION In his letters dating from the second century AD, the Roman orator and statesman Pliny the Younger wrote of finding solace in poetry as a means to embrace the uncertainties of life and to accept, albeit reluctantly, the inevitability of death. ‘‘Literature,’’ he said, ‘‘is both my joy and my comfort: it can add to every happiness and there is no sorrow it cannot console.’’ The poet took refuge in his work and sought to communicate to others the depth of his emotion and the expanse of his intellect. It is through literature that we embrace our potential and acknowledge our limitations, and it was undoubtedly this presence of mind and spirit that forged the first attempts at literary expression and that continues in our own time to define the essence and value of artistic endeavor. The growth and development of literature is most often viewed as a reflection of history, mapping the evolution of human culture and serving in its earliest renderings as either documentation or eulogy: to record for posterity or to sing praise and exaltation. It was a task assigned to the scribe not the artist, but in time the purpose and practice of literature would evolve in form and meaning to where the telling of the tale became as important as the tale itself. The nature of literature broadened in scope and objective to provide entertainment as well as instruction. As a result, the reader found pleasure in literature as the imagination unfolded in stories of gods and monsters, the death of kings, and the making of legend. If we believe as posited by philosopher Bernard Berenson that literature is ‘‘the autobiography of humanity,’’ then we come to better know ourselves by knowing those who came before us and those with whom we share our existence. In effect, literature becomes a means to examine and to understand the differences, as well as the similarities, among peoples, languages, and societies. It serves to engage our expectation, to enrich our sensibilities, and to elevate our perception of self-awareness and identity. Designed as a complement to the St. James Reference Guides to American and British literatures, the third edition of the Reference Guide to World Literature represents a comprehensive and authoritative survey to literatures written in languages other than English from the earliest known manuscripts to the works of present-day writers of international stature. Merging East and West, the ancient with the contemporary, the Reference Guide provides a broad spectrum of world literature extending from the anonymous prose and verse of the Vedas, the sacred texts of Hinduism, originating in the third millennium BC, to the ancient Sumerian epic of Gilgamesh; from the Hebrew texts of the Old Testament to The Iliad of Homer; from the Golden Age of Greek drama to the Indian folk epic the Mahābhārata; from the Confessions of St. Augustine to the classical poetry of the Tang dynasty; from The Conference of the Birds by the Persian poet Farid al-Din Attār to The Divine Comedy by Dante Alighiera; from The Praise of Folly by Desiderius Erasmus to Don Quixote by Miguel de Cervantes; from Molière’s Don Juan to Goethe’s Faust; from realism and naturalism to the advent of modernism; from existentialism to the theater of the absurd; from postmodernism to the literature of the new millennium. The present edition provides expanded coverage of literatures in less represented languages, the primary focus being Arabic, Chinese, and Japanese, as well as previously unrepresented languages including Albanian, Estonian, Indonesian, Kurdish, and Thai. Writers from the Arab world added to the edition include the pre-Islamic poet Imru’ al-Qays, the poetess al-Khansā’, the classical poet al-Mutanabbī, the Andalusian poet Ibn Khafājah, and the Sufi poets Ibn al-Fārid and Ibn al-‘Arabī and contemporary authors such as the Iranian novelist and short-story writer Jalal Al-e Ahmad, the Egyptian short-story writer and dramatist Yūsuf Idrīs, and the Syrian-Lebanese poet Adūnīs. Chinese authors include the Ming dynasty dramatist Tang Xianzu, the novelist Ding Ling, and dramatist, novelist, and Nobel laureate Gao Xingjian. Japanese authors include poets Miyazawa Kenji, Hagiwara Sakutaro, and Nishiwaki Junzaburo and novelists Lao She, Shimazaki Toson, Shiga Naoya, Ibuse Masuji, and Abe Kobo. Authors writing in previously unrepresented languages include the Albanian novelist and poet Ismail Kadaré, the Estonian poet Jaan Kaplinski and the poet and novelist Jaan Kross, the Indonesian novelist Pramoedya Ananta Toer and the poet Chairil Anwar, the Kurdish poet Abdulla Goran, and the Thai novelist Siburapha. Authors from previously underrepresented literatures include East and Central European writers such as the dramatist Václav Havel, the novelist Ivan Klíma, and the novelist Milan Kundera, writing in Czech; the short-story writer and poet Tadeusz Borowski, and the poet and dramatist Tadeusz Różewicz, writing in Polish; francophone and lusophone writers from North, East, and West Africa including the Moroccan novelist and poet Tahar Ben Jelloun and the novelist Abdelkebir Khatibi, the Tunisian novelist Albert Memmi, and the Ivorian novelist Ahmadou Kourouma, writing in French, and Mozambican poet José Craveirinha, writing in Portuguese. This edition is also noteworthy for its expanded coverage of contemporary women writers, including the Lebanese novelist Evelyne Accad, the Algerian novelist Assia Djebar, and the Canadian poet and novelist Nicole Brossard, writing in French; the Chilean novelist Isabel Allende, the Nicaraguan poet and novelist Gioconda Belli, and the Argentinian novelist Luisa Valenzuela, writing in Spanish; the Polish poet and Nobel laureate Wisława Szymborska; the Indian novelist Qurratulain Hyder, writing in Urdu; the ix INTRODUCTION REFERENCE GUIDE TO WORLD LITERATURE, 3rd EDITION Italian novelist Francesca Duranti; the Russian novelist Tatyana Tolstaya; the Japanese novelist Tsushima Yuko; and the Chinese short-story writer and novelist Li Ang. Within the context of the social and political transformation from the postwar twentieth century to the present, the increasing representation and contribution of women on an international basis has redefined the scope and dimension of world literature. Other major contemporary authors include the Martinican novelist Patrick Chamoiseau, writing in French; the Hungarian novelist and short-story writer Péter Esterházy, the Danish novelist Peter Høeg; the Chinese poet Bei Dao and the novelists Mo Yan and Su Tong; and the Japanese novelist Murakami Haruki. Literature in the new millennium is complex as it is convoluted, informed by diverse and elements: postmodernism, multiculturalism, and global diaspora. Yet it is the voice of Pliny the Younger that resonates to remind us of the true essence of literary endeavor: to bring joy and comfort; to provide inspiration and understanding; to justify our being; and to bear witness on the times in which we live. As noted by author Salman Rushdie, ‘‘Literature is where I go to explore the highest and lowest places in human society and in the human spirit, where I hope to find not absolute truth but the truth of the tale, of the imagination and of the heart.’’ —Steven R. Serafin Hunter College of the City University of New York x