J.B. Pick
Born
in Leicester, Leicestershire, England
December 23, 1921
Died
January 25, 2015
Genre
Influences
The Last Valley
10 editions
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published
1959
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The Strange Genius of David Lindsay: An Appreciation
by
2 editions
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published
1970
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The Phoenix Dictionary of Games: Outdoor, Covered Court and Gymnasium, Indoor; How to Play 501 Games
4 editions
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published
1952
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The Great Shadow House: Essays on the Metaphysical Tradition in Scottish Fiction
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published
1993
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Neil M. Gunn
3 editions
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published
2004
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100 More Games for One Player
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Freedom Itself: An Enquiry with Witnesses
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published
1979
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The Spectators Handbook
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180 Games for One Player
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The Lonely aren't Alone
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“A son of the Free Church Manse brought up to Calvinism, he adopted at Oxford first rationalist philosophy, and then the social asumptions of the English establishment, and often writes as if he were in fact descended from a long line of Cotswold squires. His last work of fiction, Sick Heart River gives a lucid account of his own development, and seems to me to be a deliberate effort to reconcile himself with life and death throught the charcter of Edward Leithen, of whom he says, 'it is possible to keep your birth-right and live in a new world - many have done it.' But not, I think, without acquiring a permanent inner loneliness and sense of exile.”
― The Great Shadow House: Essays on the Metaphysical Tradition in Scottish Fiction
― The Great Shadow House: Essays on the Metaphysical Tradition in Scottish Fiction
“In Confessions of a Justified Sinner James Hogg is neither identified with, nor overwhelmed by, the darkness of the universe, nor does he suffer from hatred or despair. He sees the cause of Wringhim's disintegration as an inner weakness which chooses to identify with false doctrine. Since Wringhim lives in illusion, he is easy meat for a master practitioner of it. Hogg himself, on the other hand, is confident of his personal wholeness. He repudiates extreme doctrine from a basis of robust common sense, and his recognition of the power of the diabolical sublime does not endanger his own sense of solid worth. He retains a forthright good-will which shows itself in cheerful endorsement of those characters in the book who accept life and enjoy themselves.”
― The Great Shadow House: Essays on the Metaphysical Tradition in Scottish Fiction
― The Great Shadow House: Essays on the Metaphysical Tradition in Scottish Fiction
“Folk-tales and ballads conceive of Elfland with a different notion of time to our own. Its people mirror the activities of our world as if to mock or distort them, and to our eyes seem immortal. They affect our world, bringing benefit or harm, but these results are not consonant with our rules, and may resemble the arbitrary operation of luck or chance. Although men may interact with these folk, they can neither understand nor trust them.
The Border Ballads in general are ready to accommodate similtaneously a theology of expiation, reward and punishment, and an Elfland which has no moral imperatives, and interpenetrates our own in unpredictable ways, even inserting off-spring among us by means of the changeling.”
― The Great Shadow House: Essays on the Metaphysical Tradition in Scottish Fiction
The Border Ballads in general are ready to accommodate similtaneously a theology of expiation, reward and punishment, and an Elfland which has no moral imperatives, and interpenetrates our own in unpredictable ways, even inserting off-spring among us by means of the changeling.”
― The Great Shadow House: Essays on the Metaphysical Tradition in Scottish Fiction