Leslie Aaron Fiedler byl americký literární kritik, jehož dílo se soustředilo na mytografii a propagaci žánrové fikce. Ve své práci také aplikoval psychologické teorie na americkou literaturu a patřil mezi rané postmodernistické kritiky. Jeho inovativní přístup zkoumal hlubší symbolické vrstvy a psychologické motivy v americké literatuře, čímž nabídl čtenářům nové perspektivy. Fiedlerova práce definovala raný postmodernismus v literární kritice a nadále ovlivňuje chápání amerických literárních děl.
![Amerikanische Romane des 19. [neunzehnten] Jahrhunderts](https://rezised-images.knhbt.cz/1920x1920/96257774.webp)
From two-headed men and dwarfs to Siamese twins, the phenomenon of the freak has fascinated people for centuries. In this classic study of the very nature of that fascination, the renowned literary and cultural critic Fiedler offers an in-depth examination of man's views of the freak from classical times to present. 150 photos and line drawings.
English, German
While on a tour of Europe and the Middle East in 1867, Twain wrote a series of travel letters which form the basis of The Innocents Abroad. Journeying from New York to Egypt via France, Spain, Italy, Morocco, Russia, Turkey and the Holy Land, Twain observed and lampooned his companions and the locals with his typically caustic and incisive commentary. In frequently humorous, sometimes grotesque detail, Twain records the day-to-day ups and downs of discoverint the truth about people and places.
But it would be unfair to the reader to reveal what happens when a gang of professional crooks gets wind of the scheme and moves to muscle in on this bettors' dream of a long-odds situation. Worked out with all the meticulous detail, terror, and suspense of a nightmare, the tale is, on one level, comparable to a Graham Greene thriller; on another, it explores a group of people, their relationships fears, and loves. For as Leslie A. Fiedler says in his introduction, "John Hawkes.. . makes terror rather than love the center of his work, knowing all the while, of course, that there can be no terror without the hope for love and love's defeat . . . ."