Download Children of Light (Vintage Contemporaries) by Robert Stone PDF

By Robert Stone

A searing, indelible love tale of 2 ravaged spirits—a screenwriter and an actress—played out lower than the cruel, magnifying prism of Hollywood.

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Extra info for Children of Light (Vintage Contemporaries)

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And yet this relation to the inhuman only befalls man, for him, to him, in the name of man. He alone gives himself this inhuman name. And Romeo would not be what he is, a stranger to his name, without his name” (qtd. in Schalkwyk 184–85). ” The premise of the narrative—that there is something essential in a person that makes him almost one with what he is called, a king—anticipates, of course, what will be asserted about the poet’s power to name as well: that in apparently neat agreement with Emerson, the poet, unlike the ungifted characters and speakers in the poems from West-Running Brook whose naming usually fails, can name infallibly, just as the king, for instance, can identify the quintessence of many things, including authentic and fake jewels.

Abandoned for the purposes of mowing, “Faraway Meadow” (the named spot of the unnamable experience) offers a glimpse of wildness, of a place where “tumultuous flowers” can “go to waste and go wild in, / All shapes and colors of flowers,” which the speaker need not call “by name” (243). The process of naming marks off a site for whose “wildness” names are irrelevant. 13 To this extent, it is not, as in Emerson, the unlocking of this inaccessible realm of meaning that the poem is about so much as the very marking off of the limits of expression, the venturing to that borderland of language where meaning and naming must fail.

48)—the local farmer says: “I don’t suppose the water’s changed at all. You and I know enough to know it’s warm Compared with cold, and cold compared with warm. ” (48) According to Lentricchia, this exchange plays out the fundamental interplay within Frost’s identity-driven poetry between an assertion of man’s imaginative power to shape reality and the opposing stubbornness of nature and of the poet’s skeptical side to finally accede to the unitary, shaping power of the imagination—“all the fun’s in how you say a thing” as opposed to the naturalistic explanation of the heat/cold phenomenon (45–48).

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