As a primary source, Into the Dark gives insight into the courageous engagement of a twenty-first-century Bunyanesque
author-pilgrim with the vexatious and challenging culture around him as he makes his way toward the heavenly city.
Dedicated to the memory of Krafft-Ebing, whom Prime-Stevenson had met and been encouraged by (see Gifford, "Introduction" 25), The Intersexes serves as a kind of guidebook--a layman's sexological Pilgrim's Progress--for homosexuality (for particularly Bunyanesque
passages, see The Intersexes 5, 122).
In O'Brien's Bunyanesque
narratives, his protagonists confront head-on a modern culture that appears to be rapidly descending into a "seemingly benign totalitarianism," as O'Brien writes in The Family and the New Totalitarianism.
The obvious exceptions to Lewis's antipathy towards allegory include his self-consciously Bunyanesque
first novel, The Pilgrim's Regress (1933)--which bears the unambiguous subtitle "An Allegorical Apology for Christianity, Reason, and Romanticism"--and also The Great Divorce (1945), a somewhat more novelistic work that nevertheless belongs to the ancient genre of the dream vision, itself the major locus of allegorical narrative in the Middle Ages (Boethius's Consolatio, Alain de Lille's De planctu naturae, the Roman de la Rose, Dante's Commedia, Piers Plowman).
In the hunter allegory something Bunyanesque
is lost when the hyphens leave "Human-Nature" (I.
25) While William Poole, aka "Bill the Butcher," and heavyweight champion Tom Hyer were Bowery B'hoys, the most famous B'hoy was Mose Humphreys, whose Bunyanesque
reputation portrayed him with hands as large as Virginia ham and arms so long they dangled below his knees.
Montville's subject is John Montague, an enormously skilled--and enigmatic--golfer whose Bunyanesque
exploits at Hollywood's Lakeside Golf Club in the 1930s became the stuff of legend.