By William Styron
William Styron’s riveting and funny play a couple of staff of Marines who withstand the army machine
In the summer time of 1943, a tender Marine named Wally Magruder arrives at a military health facility within the American South, with what medical professionals diagnose as a critical case of syphilis.
Trapped within the stifling confines of the urology ward, Magruder and his fellow sufferers insurgent opposed to the authoritarian Dr. Glanz, a doctor who delights within the energy that illness offers him. yet as they search to reclaim their identities opposed to dehumanization, the ward turns into a hell extra actual than any of them may have imagined.
Inspired by way of Styron’s personal event in an army clinic, In the Clap Shack is a searing indictment of army brutalization and an excellent safety of individualism and private freedom.
This book gains new manuscripts, infrequent pictures, and never-before-seen files from the William Styron information at Duke University.
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Extra resources for In the Clap Shack
They refuse temporarily their family’s otherwise constant demand that they attend to the wants of others even as they act deliberately to do something for their own private pleasure. Their activity is compensatory . . in that it permits them to focus on themselves and to carve out a solitary space within an arena where their selfinterest is usually identified with the interests of others and where they are defined as a public resource to be mined at will by the family. : 211) The second point to make returns us to the genre itself.
Most popular novelists have simultaneous UK and US releases at the very least, as Agatha Christie did with her publishers Dodd, Mead & Co. in America and Collins in Britain. Writers of popular fiction may or may not love their publishers, of course. When he felt mistreated over the publication of Treasure Island in 1883, for example, Stevenson called his publisher, Cassell, a ‘doomed mansion’ and prophesized that a ‘huge establishment, that cannot answer letters, nor even acknowledge registered packets, is doomed.
Slow reading, critical reading, means being suspicious at every turn, interrogating every detail of the work, trying to figure out by just what means the magic is wrought. ( Miller 2002: 122) In today’s information-overloaded society, this view of reading may of course seem like a quaint anachronism – and certainly, it is miles away from Michael Crichton. But it typically represents the reader of Literature, as someone who can contemplate without interruption what is written on the page: someone who is free of distractions, including the distractions of movie spin-offs, media tie-ins, merchandizing, branding, leisure activity and so on.
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