Covers fifty years of criticism of Graham Greene, a leading man of letters on the English literary scene.

A comprehensive reference guide to the published writings of Graham Greene, this book surveys not only Greene's literary work - including his fiction, poetry and drama - but also his other published writings. Accessibly organised over five central sections, the book provides the most up-to-date listing available of Greene's journalism, his published letters and major interviews. The Writings of Graham Greene also includes a bibliography of major secondary writings on Greene and a substantial and fully cross-referenced index to aid scholars and researchers working in the field of 20th Century literature.

Over a 60-year career, Graham Greene was a prolific and widely read writer. Completing a series of volumes which constitutes the only full bibliographical guide to Greene's published and unpublished writings, this book features updated listings of the scholarship associated with his work, details of recent audio and visual presentations and adaptations, as well as nine essays on lesser-known aspects of Greene's work. Featuring new material from the recently expanded Graham Greene archive which will be of particular interest and relevance to Greene scholars, it also covers contents of other archives in the UK and elsewhere in a series of mini-essays.

A new title in Palgrave Macmillan's Literary Lives series, this is a biographical narrative of Graham Greene's literary career. Among other things, it explores his motives for writing; the literary and cinematic influences that shaped his work; his writing routine and the importance of his childhood experience. Greene was elusive and enigmatic, and this book teases out the fiction from his autobiographies, the autobiography from his fictions, sharing Paul Theroux's view that you may not know Greene from his face or speech 'but from his writing, you know everything.'

This study reveals Greene in a dual role as author, one who projects literary experience into his view of life and subsequently projects both his experience and its "literary" interpretation into his fiction; and it defines two phases of Greenes novels through the changing relationship between writer and protagonists. The first phase progresses from acutely sensitive, self-divided young men somewhat like the young Greene to embittered, alienated characters ostensibly at great distance from their creator. The second phase (1939) includes a series of "portraits of the artist" through which Greene confronts more directly the tensions and conflicts of his private life.

In Graham Greene's Thrillers and the 1930s Brian Diemert examines the first and most prolific phase of Graham Greene's career, demonstrating the close relationship between Greene's fiction and the political, economic, social, and literary contexts of the period. Situating Greene alongside other young writers who responded to the worsening political climate of the 1930s by promoting social and political reform, Diemert argues that Greene believed literature could not be divorced from its social and political milieu and saw popular forms of writing as the best way to inform a wide audience. Diemert traces Greene's adaptation of nineteenth-century romance thrillers and classical detective stories into modern political thrillers as a means of presenting serious concerns in an engaging fashion. He argues that Greene's popular thrillers were in part a reaction to the high modernism of writers such as James Joyce, Gertrude Stein, and Virginia Woolf, whose esoteric experiments with language were disengaged from immediate social concerns and inaccessible to a large segment of the reading public.

Bernard Bergonzi has been reading Graham Greene for many years; he still possesses the original edition of The End of the Affair that he bought when it was published in 1951. After so much recent attention to Greene's life he believes it is time to return to his writings; in this critical study Bergonzi makes a close examination of the language and structure of Greene's novels, and traces the obsessive motifs that recur throughout his long career. Most earlier criticism waswritten while Greene was still alive and working, and was to some extent provisional, as the final shape of his work was not yet apparent. In this book Bergonzi is able to take a view of Greene's whole career as a novelist, which extended from 1929 to 1988. He believes that Greene's earlier work was hisbest, combining melodrama, realism, and poetry, with Brighton Rock, published in 1938, a moral fable that draws on crime fiction and Jacobean tragedy, as the masterpiece. The novels that Greene published after the 1950s were very professional examples of skilful story-telling but represented a decline from this high level of achievement. Bergonzi challenges assumptions about the nature of Greene's debt to cinema, and attempts to clarify the complexities and contradictions of hisreligious ideas. Although this book engages with questions that arise in academic discussions of Greene, it is written with general readers in mind.