By Jonathan Lethem
Reprint Edition.
In Jonathan Lethem's wryly humorous moment novel, we meet a tender guy named Chaos, who's residing in a film theater in post-apocalyptic Wyoming, consuming alcohol, and consuming foodstuff out of cans.
It's an strange and now and then insufferable lifestyles, yet Chaos quickly discovers that his post-nuclear fact can have no connection to the reality. So he's taking to the line with a woman named Melinda on the way to locate solutions. because the pair travels throughout the usa they locate that, whereas each one city has been affected in a different way by way of the mysterious resource of the apocalypse, not one of the humans they meet can fill of their incomplete thoughts or resolution their questions. progressively, figures from Chaos's earlier, together with a few who look simply below the impact of intravenously administered medicines, make Chaos keep in mind a few of his forgotten existence as a guy named Moon.
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2—3). Homer's polemic would then be in his insistence that cremation is the end of all sensibility (cf. //. 75—6, Od. 218—22). 39 Epist. adMenoec. L. L. 139. 40 Gf. Cho. 40 i, 293—4. Gf. also Eur. Or. 1225 42. 41 Gf. Aristot. poet. I452a7-io, mir. ausc. 846a; Plut. de ser. num. vind. 8 553d. Gf. Burkert 1992^: 72-3. 42 For psychagogia, see already Od. 23—37. It was apparently common in tragedy: Aesch. Pers. 607 93, cf. Cho. 's fragmentary play Psychagogoi: Tj8, F273 8 TrG Athenian vases attest scenes of psychagogia in Athenian drama of the early v BG: Green 1994: 17-18.
76, N. 85 (discussed below in Chapters n and 13 respectively), P. 7-9. If these are admitted as choral first persons, then it follows that at least these odes were chorally performed. Position (b) also runs into difficulties. There are a number of firstperson statements in the odes which seem to refer to the poet to the exclusion of the chorus. One such is P. 77-8 (discussed in Chapter 14). Another awkward passage is 0. 97 There the first-person speaker evidently intends: my grandmother is Stymphalian, because my mother is Thebe, whose mother in turn was the Stymphalian nymph Metope.
3, 0. 10, and /. 2: see below); other odes seem to celebrate several victories, not one in particular. When victories are simply ranked in descending order of the importance of the games (Olympian, Pythian, Isthmian, and Nemean), we are not in a position to know which victory, or indeed whether any single victory, provided the immediate occasion for the ode. g. 0. 15-18, 54-9; /. 17— 22). no Even with odes which celebrate a specific athletic victory (or victories), it is not always easy to determine whether the celebration of that victory (or victories) was the occasion for the ode.
