niryuu/sni-each-converted huggingface dataset:
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: What was the Character Reginald Bliss to do?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: In chapter 5 the outline of the paper included was on what?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: What was Boon's death attribute to?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: What is the name of the deceased person with whom's fragments of work Reginald Bliss is working?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: In Boon's unfinished work what is the name of the Character he was planning to introduce?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: Who is the leading member of the Rationalist Press Association?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: Where is George Boon?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: What is the principal theme about Boon?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: Which view of Henry James is attacked?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: What does the paper "The National History of Greatness, with especial reference to Literary Reputations" show?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: What does Bliss say killed Boon?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: To what does Reginald Bliss attribute George Boon's death?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: What disappoints Bliss as he goes throught Boon's papers?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: Who is Dr. Thomlinson Keyhold?
Boon opens with an introduction by Wells, calling it "an indiscreet, ill-advised book." Wells pretends to repudiate any public identification with the work: "Bliss is Bliss and Wells is Wells. And Bliss can write all sorts of things that Wells could not do."
As he was to do in The Research Magnificent, Wells creates a literary character (Reginald Bliss) who is making a book out of the literary remains of an author who has recently died (George Boon, a popular author of books and plays). Bliss attributes Boon's death to depression on account of the war. Bliss expresses disappointment that among Boon's papers (kept in "barrels in the attic") he has found "nothing but fragments" and "a curious abundance of queer little drawings," many of which are reproduced'.
The principal text by Boon that he presents is titled The Mind of the Race, which is "the singularly vivid and detailed and happily quite imaginary account of the murder of that eminent litt rateur, Dr. Tomlinson Keyhole." Bliss also recounts conversations about the themes of this work which he has had with Boon and with Edwin Dodd, "a leading member of the Rationalist Press Association, a militant agnostic," and later with an author named Wilkins.
The principal philosophical theme engaged in Boon is whether such a thing as "the Mind of Humanity" can be said to exist, or whether, as Dodd believes, such a notion is "mysticism."
In the unfinished work Boon was planning, a character named Hallery is "fanatically obsessed by this idea of the Mind of the Race," as indeed Wells was himself. He is imagined lecturing unsuccessfully on the subject at a conference on the subject at a seaside villa that Henry James attends. Chapter 4 of Boon is largely a frontal assault on Henry James's late manner, and contains long pastiches of his style. James's belief that a novel should have unity is vigorously attacked, as are his characters ("eviscerated people he has invented" who "never make lusty love, never go to angry war, never shout at an election or perspire at poker," but only "nose out suspicions, hint by hint, link by link"). Chapter 5 mocks other writers, especially George Bernard Shaw, and includes an outline of a paper on "The Natural History of Greatness, with especial reference to Literary Reputations" that shows that some of Wells's critical notions were far ahead of his time. Wells's stand-in Hallery argues for an expansion of the concept of literature that anticipates future critical developments. Chapter 6 analyses the resistance Hallery's quasi-religious concept of the institution of literature inspires, even in Hallery himself. Chapter 7 criticises the thought of Friedrich Nietzsche and lambastes Houston Stewart Chamberlain's pro-German work The Foundations of the Nineteenth Century.
Boon concludes with two humorous symbolic tales entitled "The Wild Asses of the Devil" and "The Last Trump." The latter tale engages theological themes that Wells would soon be developing in a serious vein in God the Invisible King (1917).
Output: Who is Edwin Dodd?