By Pearl S. Buck
A widow’s New England peace is interrupted by means of her emotions for 2 amazing males, one a lot more youthful and the opposite rather older—and the hassle of selecting among them.
At forty-three, Edith has misplaced a husband, and has young children who've youngsters in their personal. dwelling in a wide Vermont condominium, her days are spent idly examining and enjoying tune. yet all of this can be to alter whilst applicants for her affection arrive at the scene. the 1st is thirty years her senior, a thinker named Edwin with whom she enjoys an enriching highbrow friendship. the second one, Jared, is two decades her junior: a good-looking scientist, he draws Edith in brain and physique. yet no matter if Jared stocks her ardour, does he have sufficient existence event to grasp no matter if any such union is in his most sensible pursuits? during this beautiful and probing exam of hope, contrasting passions come to a head.
This e-book positive aspects an illustrated biography of Pearl S. greenback together with infrequent pictures from the author’s property.
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A widow’s New England peace is interrupted by way of her emotions for 2 fabulous males, one a lot more youthful and the opposite rather older—and the hindrance of selecting among them.
At forty-three, Edith has misplaced a husband, and has kids who've youngsters in their personal. residing in a wide Vermont apartment, her days are spent idly studying and enjoying tune. yet all of this is often to alter whilst applicants for her affection arrive at the scene. the 1st is thirty years her senior, a thinker named Edwin with whom she enjoys an enriching highbrow friendship. the second one, Jared, is 20 years her junior: a good-looking scientist, he draws Edith in brain and physique. yet no matter if Jared stocks her ardour, does he have adequate lifestyles event to grasp even if this type of union is in his top pursuits? during this beautiful and probing exam of hope, contrasting passions come to a head.
This e-book positive factors an illustrated biography of Pearl S. greenback together with infrequent photos from the author’s property.
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Additional info for Goddess Abides: A Novel
32 As the poet approaches his creative center, his thought "makes itself manifest in a kind of speech that comes from secrecy. "33 Too much self-consciousness, too much analytic clarity, threatens poetic creativity; the poet must respect the "foundling of the infected past" that lives in the rag and bone shop of the imagination: 43 Fat Cat, Ghostly Rabbit . . look not at his colored eyes. Give him No names. Dismiss him from your images. 34 Stevens often distinguished between opposed realms of poetry ("the mundo of the imagination") and philosophy ("the gaunt world of reason").
W a l l a c e Stevens, Letter to Barbara Church, September 2 9 , 1952 I believe in you m y soul, the other I am must not abase itself to you, A n d you must not be abased to the other. — W a l t W h i t m a n , "Song of M y s e l f " Can Wallace Stevens, poet, teach lawyers how to read and write better? Some law-and-literature proponents argue that law is essentially language, so that lawyers should be seen more as readers and writers than as social engineers, scientists, or philosophers. They thus become partisans in an old struggle, one that pitted the sophists against Plato, and the Roman rhetoricians against the jurisconsults—law as an art of persuasion, against law as a science of reason and analysis.
12 Further, the central theme of Stevens's poetry, what he called "my reality-imagination complex," 13 bears close kinship to the notion that reality is a social and linguistic construct—the notion that so dominates the law-and-literature attack on Locke's ideal of linguistic transparency. The scientific impulse to keep perception and computation of the real separate from mental play with the imaginary cannot be consistently carried through, the argument goes, because the basic conceptual and linguistic building blocks 39 Fat Cat, Ghostly Rabbit used in perception and computation originate in the collective social imagination; literal language largely consists of shared dead metaphor.
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