By Chris Bohjalian
Whilst Laurel Estabrook is attacked whereas using her bicycle via Vermont's again roads, her lifestyles is ceaselessly replaced. previously outgoing, Laurel withdraws into her images, spending all her unfastened time at a homeless guard. There she meets Bobbie Crocker, a guy with a background of psychological disorder and a field of images that he won't allow an individual see. whilst Bobbie dies, Laurel discovers a deeply hidden secret--a tale that leads her faraway from her outdated existence, and right into a cat-and-mouse online game with pursuers who declare they wish to save lots of her. In a story that travels among the Roaring Twenties and the twenty-first century, among Jay Gatsby's big apple and rural New England, bestselling writer Chris Bohjalian has written his so much striking novel yet.
From the alternate Paperback edition.
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Example text
Ankersmit (2005) 107. Cf. Martindale (1993) 31–2: ‘The text can be read, in the author’s “absence”, “nonpresence”, because meaning is constituted, not within consciousness, but within textuality . . Reading would then be, not simply a matter of “decoding” meanings, but rather an encounter. ’ It is a short step from this deconstruction of subject and object to Martindale’s subsequent championing of aesthetic, experiential criticism. 22 introduction reminds us that the relationship between representation and that which is represented cannot ultimately be articulated in terms of ‘truth’.
Reading Longinus through his fellow sublimicists, and vice versa, I argue in particular for the idea that sublime experience, however formulated, hinges upon a transference of power from object to subject. This view of the sublime as a concept fundamentally implicated in questions of power also brings to the fore the issues of freedom and its curtailment upon which subsequent chapters focus. Working with this model, Chapter 2 considers how the Bellum civile responds linguistically to the challenge of the sublime, represents the claims to sublime experience made by the Lucanian narrator and projects these same claims onto its readers.
75 Bourdieu’s assertion of ideology’s total primacy is extreme but, as Martindale himself admits, it is in practice just as difficult to claim total autonomy for the aesthetic. He goes on to argue that, contrary to its critics, the aesthetic can be claimed by radicals as well as conservatives but this observation in itself implies that the 73 74 24 Martindale (2005) 22. Bourdieu (1984) 493, cited by Martindale (2005) 23. 75 Martindale (2005) 23. 77 This does not mean, however, that the political can be done away with entirely.
