Download Nexus (The Rosy Crucifixion, Book 3) by Henry Miller PDF

By Henry Miller

Nexus, the final publication of Henry Miller's epic trilogy The Rosy Crucifixion, is extensively thought of to be one of many landmarks of yankee fiction.

In it, Miller vividly remembers his a long time as a down-and-out author in ny urban, his neighbors, mistresses, and the weird conditions of his eventful existence.

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Additional resources for Nexus (The Rosy Crucifixion, Book 3)

Sample text

In the United States, Van Winkle produced the same number of editions between 1819 and 1826. In the next sixteen years there were nine more American reprints, and since he was living in England, Irving was able to reap returns from both American and British sales. He had indeed found "solid credit with the public," and he rapidly sought additional returns. Bracebridge Hall, also attributed to Geoffrey Crayon, appeared in 1822. Although it did not achieve the huge popularity of The Sketch Book, of which it was an obvious imitation, it came close, and Murray paid 1,200 guineas for the right to publish it in England.

The Prairie would sell steadily over time, but by the beginning of 1828, his American publisher, Carey and Lee, had not yet completely sold their first edition of 5,000 copies. Three more adventure stories followed, American books written in Europe: The Red Rover (1827), another sea tale, which sold 6,500 copies in America; The Wept of Wish-ton-Wish (1829), set in seventeenth-century New England at the time of King Phillip's War; and The Water-Witch (1829), a nautical romance set in New York Bay in the early eighteenth century.

In 1824 Irving issued his last effort to work the vein of The Sketch Book — Tales of a Traveller, by Geoffrey Crayon, Gent. — but here there were important differences. The influence of German gothic fiction, to which Scott had introduced Irving, was far more overt, and unlike The Sketch Book and Bracebridge Hall, Tales of a Traveller consisted entirely of short stories — works of fiction, generally considered the lowest of current literary modes. Irving apparently knew that he was taking a risk; many of the Tales deal quite selfconsciously with the fictionality of fiction, and a quarter of the book, "Buckthorne and His Friends," takes the insubstantiality of the literary life as its subject.

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