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The article critiques the diary section of the book "Blindness," by Henry Green, interpreting it as a reflection on the author's own life. It addresses the common reading of the diary section as a means of establishing the protagonist's artistic abilities, and refutes this interpretation based on the amount of personal information contained in the diary section. It comments on errors in the book's chronology, speculations into Green's life, and reading the novel as an autobiography.

Henry Green’s 1946 novel Back is effectively cut in two because at the arithmetic middle of the book, there is a translated (and quite long) passage from the purportedly eighteenth century Souvenirs of the Marquise de Créquy. While most critics have agreed upon the importance of this passage to the novel, not only structurally but thematically, none have actually looked into the original source and considered the most crucial thing about it: the original source was a forgery. When considering the forged status of this passage and its vital importance to Back, our reading of Green’s novel must change drastically: no longer does the novel read as a quest for authenticity on the part of its protagonist, the disabled war veteran Charley Summers. Rather, one must consider the possibility of a true self in a world of forgery and duplicity. This also implicates our understandings of modernist intertextual practices. [ABSTRACT FROM PUBLISHER]

A literary criticism of the book "Living," by Henry Green is presented. It outlines the characters and explores the symbolic significance of the characters. It examines the fiction as anti-mimetic, abstracted from society, and intimately linked to times and economic depression of industrial areas in the mid-1920s. An overview of the story is also given with casts of workers, neighbors, and families connected to Dupret factory.