By Henry Miller
Carrying on with the subversive self-revelation started in Tropic of melanoma and Tropic of Capricorn, Henry Miller takes readers alongside a mad, free-associating trip from the damp filth of his Brooklyn early life to the sun-splashed cafes and squalid residences of Paris. With incomparable glee, Miller shifts without problems from Virgil to venereal sickness, from Rabelais to Roquefort. during this seductive technicolor swirl of Paris and long island, he captures like not anyone else the mixing of individuals and the towns they inhabit.
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Clarice Lispector aveva diciannove anni quando fu pubblicato questo suo libro in Brasile. period una giovane ebrea ucraina, trasferita con i genitori, piccolissima, in the United States del Sud. los angeles critica brasiliana accolse subito l. a. Lispector con meraviglia, definendo questo libro «il nostro primo romanzo nello spirito di Joyce e Virginia Woolf» (Alvaro Lins).
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As the story develops and the tone changes, it becomes clear that Kipling is developing yet another contemporary political warning; this time about Russian threats to India. Yet it is again a story of identity via community. More than that, however, in the portrayal of Dirkovatch - who has been everywhere and arrives from 'nowhere in particular' -Kipling creates a symbol of the eternal threat to any of mankind's redeeming works. The immediate political danger might change or even disappear, but the barbarians will always resurface, whether at the wall or in the Empire.
Would be sentimental if it merely contrasted victims with civilians; instead, it stings with irony and indignation because its subject is men who actually did their duty. The emotional and moral basis of most of Sassoon's war poetry is heroic endurance, but the soldiers are clearly not social heroes. Their heroism does not connect them with society at home, but keeps them morally and psychologically apart from it. The only possible social hero is now the soldier-poet, the writer who has suffered with the soldiers and who relates the idiocy of war.
Was not meant to hide a personality but a fact' (10). Such facts define the man, even in the world of the imperfect heroes of Lord Jim. Marlow's repeated insistence that Jim is 'one of us' is a reminder both of responsibilities and of weaknesses. Two years after Lord Jim came Heart of Darkness where the frail artefacts of civilisation are close to collapse. Man, in Conrad's 26 English Fiction and Drama of the Great War, 1918-39 VISion, is responsible for the only order in nature; yet Kurtz destroys all moral order, not by weakness, but by a perverse strength.
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