[PDF] The Sound And The Fury In The Garden Of Eden eBook
The Sound And The Fury In The Garden Of Eden Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of The Sound And The Fury In The Garden Of Eden book. This book definitely worth reading, it is an incredibly well-written.
This non-academic author brings the Garden of Eden myth alive as sophisticated poetry and a polemic for women and the consciousness of freedom. The myth is explored line by line using the tools of literary analysis and modern ideas, including Freudian concepts. The analysis shows how its "J" author, thought to be a woman in the royal court of Judah around 1000 BCE, uses the techniques of sound association, puns and other sophisticated means to get her messages across. The analysis probes how after thousands of years this myth still speaks to us about the critical human experiences of sex and death and their bigger brothers freedom and limitation.
This non-academic author has previously brought you reader's guides to the depths and subtle pleasures of works by Joyce and Faulkner. With this book he brings you to the ultimate pleasures of Gustave Flaubert's masterpiece. This author treats Madame Bovary as the Zen novel, working on the reader in the same way Zen works on a disciple. He shows how Flaubert uses a radically new style in order to create a literary breakthrough of a similar order as Zen and has composed the ultimate music of this novel in the counterpoint of style and plot. The style of the novel is grounded in Zen-like detachment and freedom whereas the plot is mired in desire, illusion and determinism. In the plot the inevitable demise of Madame Bovary is driven by her passionate nature and corresponding vulnerability to illusion. By contrast Flaubert's radical style is built on the philosophy of detachment. Flaubert finds a principal enemy of human freedom deep in the guts of mankind in the tapeworm of desire. The desire tapeworm feeds on freedom and excretes dissatisfaction. Emma or Madame Bovary is not free because she has the worm. Emma wants, Emma gets, but she is quickly dissatisfied and then the worm wants more. Emma could be a poster girl for our 21st century credit card society. Flaubert's novel shows through the fate of Emma Bovary the dangers of the worm. For those without freedom fate is in charge.
The book explains the novel's connection with the American South of the 1920s, illuminating its modernist style and exploring its autobiographical elements. After surveying criticism on the novel, the book examines the theme that dominates the work: the changes occuring in Southern race, class and gender definitions.
This non-academic author, a retired lawyer, brings William Faulkner's Absalom, Absalom! to life as uncertainty in Dixie. He traces Faulkner's portrait of the efforts of Thomas Sutpen to create a family dynasty in wealth and community respect and of Rosa Coldfield to revenge Sutpen's treatment of her as a mere reproduction tool. Both efforts are analyzed as life sterilizers inevitably doomed to failure by the uncertainties in life and as examples of the tension between control of the future and love, a choice Faulkner had to make in his own personal life. Line by line analyses of critical portions of the novel reveal its subtleties to the reader. The explanation points out the intentional gaps and spaces in the story that invite reader participation as to what happened. This author gives you his interpretation. You are invited to create your own version of what "really" happened in this archetypal setting in Faulkner's famous Jefferson, Mississippi.
In the tradition of The Boys of Summer and The Bronx Is Burning, New York Times sports columnist Harvey Araton delivers a fascinating look at the 1970s New York Knicks—part autobiography, part sports history, part epic, set against the tumultuous era when Walt Frazier, Willis Reed, and Bill Bradley reigned supreme in the world of basketball. Perfect for readers of Jeff Pearlman’s The Bad Guys Won!, Peter Richmond’s Badasses, and Pat Williams’s Coach Wooden, Araton’s revealing story of the Knicks’ heyday is far more than a review of one of basketball’s greatest teams’ inspiring story—it is, at heart, a stirring recreation of a time and place when the NBA championships defined the national dream.
This fourth in a series continues this non-academic author's ground-breaking word by word analysis of James Joyce's Finnegans Wake. This volume covers all of chapters 1.7, 1.8 and 2.1 with the intent to explore them as art objects. In chapters 1.7 and 1.8 Aesthetics meets Theosophy meets Metaphysics. Together they share a common subject-how one part or whole treats another part. These two chapters move from shun to share, hurt to help, male to female. In aesthetics, from bad art to good art. In theosophy, from TZTZ god to ES god. In metaphysics a la Arthur Schopenhauer, from male to female aspects of Will. Featuring an all male cast, chapter 1.7 is a stinging criticism of Shem by Shaun-brother against brother. Chapter 1.7 is intentionally bad art. In aesthetic terms, the whole of the chapter is at odds with the parts and the parts at odds with other parts. With an all female cast, chapter 1.8 features a young washerwoman and old washerwoman washing clothes and talking together across a river. The main point is that they are working together, and Old shares knowledge of the eternal feminine with Young. Sharing replaces shunning. Part helps part. Chapter 1.8 is intentionally divine art. Chapter 2.1 starts Part II that features the Earwicker children, the human expression of the death defying new. As children, they come with the potential for new possibilities. Initially, however, their realization is limited by youth, when they are more under instinct-based and parental control than under self-control. Chapter 2.1 features a children's game fueled by immature sexual intoxication and loss of self-control. Joyce presents this come-on game in the rhythms and rhymes of children's stories, poems and songs, that is in children's art limited by the purpose to please a young mind. Chapter 2.1 takes the form of a play. The action in the play is the children's game. It is a play about play. With drama in the structure, Joyce weaves Macbeth into the chapter and like Shakespeare's bearded witches, boils the pot with male and female. Hermetic magic supplies the metaphors and concepts for chapter 2.1. Hermetic magic is the art of accessing the celestial force field known as the Astral Light. In order to have strong magic the magus must be in equilibrium and must know him or herself. Magus Joyce notes that these same requirements are necessary for the highest art.
An analysis of Faulkner's novel Light in August based on the death of his daughter, Alabama. BACK COVER: This non-academic author exposes the poltergeist lurking in the cellar of Faulkner's uncanny and haunting novel Light in August as the ghost of Faulkner's first child Alabama. She was born prematurely and died tragically after only nine days, apparently in the clutches of fetal alcohol syndrome. Faulkner couldn't write anything substantial for 7 months and then started this disturbing novel. The author demonstrates how Faulkner's own grief experience shaped the characters and the action and how he grounded part of his personal poltergeist in this novel. The resulting novel is full of tension and alienation. Strangers occupy Faulkner's fictional Jefferson, Mississippi against the background of the culturally reft South post-Civil War. The author shows how Faulkner shrouded his intensely personal grief experience in a conceptual wardrobe borrowed from the philosopher and Nobel Prize winning Henri Bergson. Faulkner borrowed Bergsonian concepts of the life and death currents for the contrast in characters between those free in the present and those prisoners of the past. Lena Grove the young and pregnant country girl walking for weeks to find the father of her child bears the life current and Joe Christmas the orphan turned rapist and murderer the death current. The author demonstrates how Faulkner created the novel's other vivid characters using similar contrasts and how the plot strands tie together in a resonating whole. The author's detailed textual analysis of important passages brings this difficult novel into focus. Like the author's other books on Joyce and Faulkner, use of this analysis either as literary foreplay or afterplay will enhance your reading experience of Faulkner's novel.
This is a detailed reader's guide to the power of Conrad's novel Victory. This non-academic author analyzes Conrad's format as a conflict between the life philosophies of Buddhist separation and Holy Spirit connection, a conflict played out dramatically in the emotional relationship of one man and one woman living on a remote south sea island. Anderson identifies the major themes as follows. Baron Axel Heyst, living alone to avoid emotional entanglements, nonetheless rescues Lena from a touring orchestra, and they escape to live together 24/7 on his remote island. Lena's connection to Heyst matures from initial interest to sexual love to selfless or spiritual love. But Heyst's response to her remains stuck in sexual possession. Given this failure of love connection, representatives of evil arrive on the island shortly thereafter. The victory of the title is Lena's victory over the fear of death that generates the selfish "me first" attitude in humans. Grounded in love for Heyst, she achieves a permanent and real sense of self and an ability to deal with evil. Finally the Holy Spirit force field powers her ultimate sacrifice for Heyst. He remains self-possessed, ultimately giving nothing of himself to Lena, but ironically without a secure sense of self or the ability to deal with evil. This author sees Conrad's large structure for Heyst's failure of the spirit as the biblical account of Mary Magdalene's part in the Resurrection of Christ. Heyst's failure to love Lena is his resurrection lost. This author also analyzes the sophisticated art of this novel as an unfolding from stem-cell metaphors into more specialized metaphors producing a powerful artistic victory.
Fresh from the magic kingdom of Joyce's Finnegans Wake, this non-academic author ushers us line-by-line into the shadows of Kafka's spectral bug theater. He walks the bug back along hints left by Kafka as to what happened the night before, why that night was different from all other nights. In this reading, father Samsa betrayed his first-born and needy son Gregor by declaring him unwelcome at home, even though Gregor was paying the rent. Stimulated by this betrayal of blood by blood, the twilight zone opened momentarily allowing father's brutality to transform the son into a giant bug. Three months later, the combined protective forces of Easter and Passover are necessary to finally put the creature to rest: Easter for his spirit and Passover for his bug body. Using then-current formulas from psychoanalysis as to hysterical conversion and from psychodynamics as to the human energy system, this explanation locates in a story often found mysterious a coherent path to the lack of memory by Gregor of these events and the reason for his hard back and soft underbelly. As the author sees it, irony fuels the title because the metamorphosis changed Gregor's exterior but not his inner nature, his "indestructible" love for family, while just the opposite happened to his convenience-loving family. And irony fuels the results because father Samsa got just the lazy and dependent son he criticized Gregor for being in wanting to stay at home. The author traces how Kafka uses verb tense and aspect, psycho-narration, as well as changes in the narrator's voice to make meaning in this drama theater. In the last act and after Gregor is disposed of by a Mary Magdalene-suggesting charwoman, the parents prepare their last child, their daughter, for departure, which will leave them in complete convenience. For her they have saved a nest egg that will help supply a nest for her family eggs, a family nest denied to their first-born.