m2o23of

1930 critic, istoric literar, prozator si traducator literary critic and historian, prose writer and translator

Marele Alpha, 1970; Simple intamplari cu sensul la urma, 1970; Clepsidra cu venin, 1971; Semne si repere, 1971; La sfarsitul lecturii, I-III, 1973-1980; In jurul lui E. Lovinescu, 1975; Mateiu I. Caragiale, 1981; Simple intamplari in gand si spatii, 1982; Caiet pentru..., 1984; Petreceri cu gandul si inductii sentimentale, 1986; Dimineata devreme, 1987; Seara tarziu, 1988; Intr-o dimineata de toamna, 1989; Pro libertate, eseuri, Editura Albatros, 1999

Ph. Van Tieghem, Marile doctrine literare in Franta, 1972; V. de l'Isle Adam, Povestiri crude si insolite, 1973; R. de Gourmont, Eseuri, 1975; E. Zola, Saloanele mele, 1976; A. France, Viata literara, 1978; Voltaire, Secolul lui Ludovic al XIV-lea, 1983; P.J. Proudhon, Principiul artei si destinatia ei sociala, 1986 atraducerii

The Great Alpha, 1970; Mere Events with the Meaning at the End, 1970; The Snake Poison Clepsydra, 1971; Marks and Landmarks, 1971; At Reading's End, I-III, 1973-1980; Around E. Lovinescu, 1975; Mateiu I. Caragiale, 1981; A Book for..., 1984; Thought Parties and Sentimental Inducing, 1986; Early Morning, 1987; Late in the Evening, 1988

Voltaire, The Century of Louis the XIVth, 1983 atranslationsi

Din sentimentul unui dosar incarcat cu injustitii pe care l-ar prezenta literatura, Al. George se exercita mai cu seama in registrul negativ. Intra in joc si, dupa cat se pare, o pornire juvenil-detectivistica, de demonstrare a unor “cazuri” tenebroase, tangenta la vocatia subtilului prozator care vietuieste in aceeasi personalitate cu criticul. Dar in speta domina umoarea celui ce inclina a masura literatura prin prisma unui idealism lezat. (Gheorghe Grigurcu)

Considering that literature is a file filled with injustices, Al. George exercises himself mostly within the negative range. A juvenile-detectivistic streak that prompts him to take up same “dark cases” and is tangential to the vocation of the subtle prose writer coexisting alongside the critic within the same person partially accounts for it too. But, on the whole, the dominant humour is that of a man who tends to measure literature through the eyes of an injured idealism. (Gheorghe Grigurcu)