By Louisa May Alcott
One of 5 liked Christmas classics
A Merry Christmas collects the valuable vacation stories of Louisa may well Alcott, from the dearly prevalent yule benevolence of Marmee and her “little women” to the undying “What Love Can Do,” in which the citizens of a boarding condo come jointly to make a stunning Christmas for 2 terrible ladies. Wildly renowned on the time in their publication—readers deluged Alcott with letters not easy sequels—and drawing on Alcott’s relatives and reviews within the abolitionist and women’s suffrage activities, those tales have the genuine texture and element of Christmas in nineteenth-century the USA, whereas their emphasis on generosity and charity lead them to undying embodiments of the Christmas spirit.
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Extra resources for A Merry Christmas: And Other Christmas Stories (Penguin Christmas Classics)
The Black Book: Berryman’s Holocaust Requiem 15 continuity is established through the repetition of the single word “later”. This uncertainty of time and location is representative of both the narrator’s naivety and the grandfather’s battered condition, of his disorientation and damaged vision: he is described as “odd-eyed” and witness to a “blind light”. ” Yet while the poem’s representation of “sight”, in both a physical and narratorial sense, is that of a faculty prone to failure, both character and narrator retain the capacity to hear and make noise: in the second stanza, for example, we are told that the grandfather “howled a night” before he died.
Cummings, though his fragmented sonnets in Tulips & Chimneys (1923) and later books, with their words scattered across the page, were too erratic to suggest that the sonnet could survive in anything other than a mutilated state. A more 5 The Poetry of Robert Frost, ed. Edward Connery Lathem, 2nd edn, London: Vintage, 2001, 17. C. Barfoot has written a useful account of Edna St Vincent Millay’s recognition of the versatility of the sonnet form, which is worth considering in relation to discussions about the sonnet’s place in twentieth-century American poetry.
However, it can reasonably be inferred that their artistic merit also troubled him and that he could not disentangle his apprehensions about them as good poetry from his guilt about the relationship. His continued ambivalence, even on publication in 1967, can be adduced from the prefatory Dream Song. “Has he the right”, Berryman asks in that piece, 26 Anne Barton, “John Berryman’s Flying Horse”, New York Review of Books, 23 September 1999, 66. 27 See Joel Conarroe, John Berryman: An Introduction to the Poetry, New York: Columbia University Press, 1977, 56.
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