Get Where the Sea Used to Be PDF

By Rick Bass

The 1st full-length novel via certainly one of our best fiction writers, the place the ocean was once tells the tale of a fight among a father and his daughter for the souls of 2 males, Matthew and Wallis-his protégés, her enthusiasts. previous Dudley is a Texan whose faith is oil, and in his fifty years of attempting to find it in Swan Valley he has destroyed a dozen geologists. Matthew is Dudley's latest sufferer, yet Wallis starts off to discover the darkish secret of Dudley's existence. each one personality, the flora and fauna, and the land itself are rendered with the vibrant poetry that's that hallmark of Rick Bass's writing.

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What does it matter to me, this duel of Tunis and Carthage? Speak to me of the duel of Carthage and Rome, and at once I am all attention, I am involved. ” he nevertheless warns against the circumscribing of the canon by those who know only one language and literature, and proposes to rebuild the Temple of Taste, a canon of Indo-European classics and a veritable library of humanity. Sainte-Beuve extols Homer and, more unconventionally, European classics of the age of Louis XIV and the three unknown Homers from the East: Valmiki and Vyasa of India, and Firdousi of Persia.

Eliot’s address, with a rhetorical question as its title, begins in a retro­ spective mode: “It is only by hindsight, and in historical perspective, that a classic can be known as such” (What Is a Classic? 10). Eliot articulates his topic by means of a desiring dialectic that pits the classic against the contingent, the racial and national against the international, the absolute against the errant. He espouses a utopian cultural homogeneity as a precondition for the emergence of the classic. ” 33 of taste and common style.

The classic is also radically new: impossible to predict and difficult to welcome. Coetzee shows a strong affinity with Eliot in the way he brings his topic to a close. According to Eliot, the classical criterion is of vital importance to literary criticism. Coetzee takes this idea to its logical limit: “The function of criticism is defined by the classic: criticism is that which is duty-bound to interrogate the classic. Thus the fear that the classic will not survive the de-centring acts of criticism may be turned on its head: rather than being the foe of the classic, criticism, and indeed criticism of the most sceptical kind, may be what the classic uses to define itself and ensure its survival” (19).

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